Me Verás Volver
Me Verás Volver is a compilation album released in July, 2007 by Argentine rock band Soda Stereo. The album shares the name with their comeback tour that started on October 19 of the same year, which in turn is taken from a line in their song "En la Ciudad de la Furia". In June, 2007 the band make a media announcement for the promotion of a tour in different countries of Latin America with the purpose of celebrating ten years of their last concert, on September 20 is carried out the only press conference of the tour, at the opening the band perform two songs: "Sobredosis de TV" and "En la Ciudad de la Furia"; the album is accompanied by a pin code for the access of extra material in the band´s website. Sobredosis de T. V. – 4:08 Trátame Suavemente – 3:21 Juego De Seducción – 3:18 Cuando Pase el Temblor – 3:49 Nada Personal – 4:52 Signos – 5:15 Persiana Americana – 4:52 Prófugos – 5:17 Pic Nic en el 4B – 3:39 Corazón Delator – 5:12 En la Ciudad de la Furia – 5:47 De Música Ligera – 3:33 Un Millón de Años Luz – 5:04 En Remolinos – 4:39 Primavera 0 – 3:39 Zona de Promesas – 3:59 Ella Usó Mi Cabeza Como Un Revólver – 4:29 Zoom – 3:26All tracks written by Gustavo Cerati, except noted.
Soda StereoGustavo Cerati – lead vocals, guitars Zeta Bosio – bass guitar, backing vocals Charly Alberti – drums, percussion Coveralia - Me veras volver - Soda Stereo
New wave music
New wave is a genre of rock music popular in the late 1970s and the 1980s with ties to mid-1970s punk rock. New wave moved away from blues and rock and roll sounds to create rock music or pop music that incorporated disco and electronic music. New wave was similar to punk rock, before becoming a distinct genre, it subsequently engendered fusions, including synth-pop. New wave differs from other movements with ties to first-wave punk as it displays characteristics common to pop music, rather than the more "artsy" post-punk. Although it incorporates much of the original punk rock sound and ethos, new wave exhibits greater complexity in both music and lyrics. Common characteristics of new wave music include the use of synthesizers and electronic productions, a distinctive visual style featured in music videos and fashion. New wave has been called one of the definitive genres of the 1980s, after it was promoted by MTV; the popularity of several new wave artists is attributed to their exposure on the channel.
In the mid-1980s, differences between new wave and other music genres began to blur. New wave has enjoyed resurgences since the 1990s, after a rising "nostalgia" for several new wave-influenced artists. Subsequently, the genre influenced other genres. During the 2000s, a number of acts, such as the Strokes, Franz Ferdinand and The Killers explored new wave and post-punk influences; these acts were sometimes labeled "new wave of new wave". The catch-all nature of new wave music has been a source of much controversy; the 1985 discography Who's New Wave in Music listed artists in over 130 separate categories. The New Rolling Stone Encyclopedia of Rock calls the term "virtually meaningless", while AllMusic mentions "stylistic diversity". New wave first emerged as a rock genre in the early 1970s, used by critics including Nick Kent and Dave Marsh to classify such New York-based groups as the Velvet Underground and New York Dolls, it gained currency beginning in 1976 when it appeared in UK punk fanzines such as Sniffin' Glue and newsagent music weeklies such as Melody Maker and New Musical Express.
In November 1976 Caroline Coon used Malcolm McLaren's term "new wave" to designate music by bands not punk, but related to the same musical scene. The term was used in that sense by music journalist Charles Shaar Murray in his comments about the Boomtown Rats. For a period of time in 1976 and 1977, the terms new wave and punk were somewhat interchangeable. By the end of 1977, "new wave" had replaced "punk" as the definition for new underground music in the UK. In the United States, Sire Records chairman Seymour Stein, believing that the term "punk" would mean poor sales for Sire's acts who had played the club CBGB, launched a "Don't Call It Punk" campaign designed to replace the term with "new wave"; as radio consultants in the United States had advised their clients that punk rock was a fad, they settled on the term "new wave". Like the filmmakers of the French new wave movement, its new artists were anti-corporate and experimental. At first, most U. S. writers used the term "new wave" for British punk acts.
Starting in December 1976, The New York Rocker, suspicious of the term "punk", became the first American journal to enthusiastically use the term starting with British acts appropriating it to acts associated with the CBGB scene. Part of what attracted Stein and others to new wave was the music's stripped back style and upbeat tempos, which they viewed as a much needed return to the energetic rush of rock and roll and 1960s rock that had dwindled in the 1970s with the ascendance of overblown progressive rock and stadium spectacles. Music historian Vernon Joynson claimed that new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk. Music that followed the anarchic garage band ethos of the Sex Pistols was distinguished as "punk", while music that tended toward experimentation, lyrical complexity or more polished production, came to be categorized as "new wave". In the U. S. the first new wavers were the not-so-punk acts associated with the New York club CBGB.
CBGB owner Hilly Kristal, referring to the first show of the band Television at his club in March 1974, said, "I think of that as the beginning of new wave." Furthermore, many artists who would have been classified as punk were termed new wave. A 1977 Phonogram Records compilation album of the same name features US artists including the Dead Boys, Talking Heads and the Runaways. New wave is much more tied to punk, came and went more in the United Kingdom than in the United States. At the time punk began, it was a major phenomenon in the United Kingdom and a minor one in the United States, thus when new wave acts started getting noticed in America, punk meant little to the mainstream audience and it was common for rock clubs and discos to play British dance mixes and videos between live sets by American guitar acts. Post-punk music developments in the UK were considered unique cultural events. By the early 1980s, British journalists had abandoned the term "new wave" in favor of subgenre terms such as "synthpop".
By 1983, the term of choice for the US music industry had become "new music", while to the majority of US fans it was still a "new wave" reacting to album-based rock. New wave died out in the mid-1980s, knocked out by guitar-driven rock reacting against new wave. In the 21st-century United States, "new wave" was used to describe ar
Rex Mix is an EP remix recorded by Argentine rock band Soda Stereo. It was their second effort EP and was released by Sony Music in 1991; the EP contains remixes and new arrangements of previous songs, two songs recorded live at Gran Rex Theatre in Buenos Aires, one new track: No necesito verte. Daniel Melero a frequent collaborator of the band, played an important role in this EP, doing remixes and bringing new concepts to the band. Hombre Al Agua No Existes En Camino – Viva la Patria Mix No Necesito Verte No Necesito Verte – Krupa Mix En Camino – Veranek Mix No Necesito Verte – Candombe MixTrack listing was different in all 3 formats, with four songs on the 12" and six on tape. All seven tracks were included on the CD, it was the last Soda Stereo record to be commercially released on vinyl in Argentina. Any Argentinian Soda vinyl releases. Soda Stereo Gustavo Cerati: lead vocals, guitar and programming Zeta Bosio: bass and backing vocals Charly Alberti: drums and percussionAdditional personnel Tweety González: keyboards and acoustic guitar Daniel Melero: keyboards and chorus, voice in No Necesito Verte Andrea Álvarez: percussion, chorus en Hombre Al Agua Produced by Gustavo Cerati & Zeta Bosio
Buenos Aires is the capital and largest city of Argentina. The city is located on the western shore of the estuary of the Río de la Plata, on the South American continent's southeastern coast. "Buenos Aires" can be translated as "fair winds" or "good airs", but the former was the meaning intended by the founders in the 16th century, by the use of the original name "Real de Nuestra Señora Santa María del Buen Ayre". The Greater Buenos Aires conurbation, which includes several Buenos Aires Province districts, constitutes the fourth-most populous metropolitan area in the Americas, with a population of around 15.6 million. The city of Buenos Aires is the Province's capital. In 1880, after decades of political infighting, Buenos Aires was federalized and removed from Buenos Aires Province; the city limits were enlarged to include the towns of Flores. The 1994 constitutional amendment granted the city autonomy, hence its formal name: Autonomous City of Buenos Aires, its citizens first elected a chief of government in 1996.
Buenos Aires is considered an'alpha city' by the study GaWC5. Buenos Aires' quality of life was ranked 91st in the world, being one of the best in Latin America in 2018, it is the most visited city in South America, the second-most visited city of Latin America. Buenos Aires is a top tourist destination, is known for its preserved Eclectic European architecture and rich cultural life. Buenos Aires held the 1st Pan American Games in 1951 as well as hosting two venues in the 1978 FIFA World Cup. Buenos Aires hosted the 2018 the 2018 G20 summit. Buenos Aires is a multicultural city, being home to multiple religious groups. Several languages are spoken in the city in addition to Spanish, contributing to its culture and the dialect spoken in the city and in some other parts of the country; this is because in the last 150 years the city, the country in general, has been a major recipient of millions of immigrants from all over the world, making it a melting pot where several ethnic groups live together and being considered one of the most diverse cities of the Americas.
It is recorded under the archives of Aragonese that Catalan missionaries and Jesuits arriving in Cagliari under the Crown of Aragon, after its capture from the Pisans in 1324 established their headquarters on top of a hill that overlooked the city. The hill was known to them as Bonaira, as it was free of the foul smell prevalent in the old city, adjacent to swampland. During the siege of Cagliari, the Catalans built a sanctuary to the Virgin Mary on top of the hill. In 1335, King Alfonso the Gentle donated the church to the Mercedarians, who built an abbey that stands to this day. In the years after that, a story circulated, claiming that a statue of the Virgin Mary was retrieved from the sea after it miraculously helped to calm a storm in the Mediterranean Sea; the statue was placed in the abbey. Spanish sailors Andalusians, venerated this image and invoked the "Fair Winds" to aid them in their navigation and prevent shipwrecks. A sanctuary to the Virgin of Buen Ayre would be erected in Seville.
In the first foundation of Buenos Aires, Spanish sailors arrived thankfully in the Río de la Plata by the blessings of the "Santa Maria de los Buenos Aires", the "Holy Virgin Mary of the Good Winds", said to have given them the good winds to reach the coast of what is today the modern city of Buenos Aires. Pedro de Mendoza called the city "Holy Mary of the Fair Winds", a name suggested by the chaplain of Mendoza's expedition – a devotee of the Virgin of Buen Ayre – after the Sardinian Madonna de Bonaria. Mendoza's settlement soon came under attack by indigenous people, was abandoned in 1541. For many years, the name was attributed to a Sancho del Campo, said to have exclaimed: How fair are the winds of this land!, as he arrived. But Eduardo Madero, in 1882 after conducting extensive research in Spanish archives concluded that the name was indeed linked with the devotion of the sailors to Our Lady of Buen Ayre. A second settlement was established in 1580 by Juan de Garay, who sailed down the Paraná River from Asunción.
Garay preserved the name chosen by Mendoza, calling the city Ciudad de la Santísima Trinidad y Puerto de Santa María del Buen Aire. The short form "Buenos Aires" became the common usage during the 17th century; the usual abbreviation for Buenos Aires in Spanish is Bs. As, it is common as well to refer to it as "B. A." or "BA". While "BA" is used more by expats residing in the city, the locals more use the abbreviation "Baires", in one word. Seaman Juan Díaz de Solís, navigating in the name of Spain, was the first European to reach the Río de la Plata in 1516, his expedition was cut short when he was killed during an attack by the native Charrúa tribe in what is now Uruguay. The city of Buenos Aires was first established as Ciudad de Nuestra Señora Santa María del Buen Ayre after Our Lady of Bonaria on 2 February 1536 by a Spanish expedition led by Pedro de Mendoza; the settlement founded by Mendoza was located in what is today the San Telmo district of Buenos Aires, south of the city centre. More attacks by the indigenous
The saxophone is a family of woodwind instruments. Saxophones are made of brass and played with a single-reed mouthpiece similar to that of the clarinet. Although most saxophones are made from brass, they are categorized as woodwind instruments, because sound is produced by an oscillating reed, traditionally made out of woody cane, rather than lips vibrating in a mouthpiece cup as with the brass instrument family; as with the other woodwinds, the pitch of the note being played is controlled by covering holes in the body tube to control the resonant frequency of the air column by changing the effective length of the tube. The saxophone is used in classical music, military bands, marching bands and contemporary music; the saxophone is used as a solo and melody instrument or as a member of a horn section in some styles of rock and roll and popular music. Saxophone players are called saxophonists. Since the first saxophone was invented by the Belgian instrument maker Adolphe Sax in the early 1840s, saxophones have been produced in a variety of series distinguished by transpositions within instrument sets and tuning standard.
Sax patented the saxophone on June 1846, in two groups of seven instruments each. Each series consisted in alternating transposition; the series pitched in B♭ and E♭ soon became dominant and most saxophones encountered today are from this series. Instruments from the series pitched in C and F never gained a foothold and constituted only a small percentage of instruments made by Sax. High Pitch saxophones tuned sharper than the A = 440 Hz standard were produced into the early twentieth century for sonic qualities suited for outdoor uses, but are not playable to modern tuning and are considered obsolete. Low Pitch saxophones are equivalent in tuning to modern instruments. C soprano and C melody saxophones were produced for the casual market as parlor instruments during the early twentieth century. Saxophones in F never gained acceptance; the modern saxophone family consists of instruments in the B♭ - E♭ series and experimental instruments notwithstanding. The saxophones with widest use and availability are the sopranos, altos and baritones.
In the keyed ranges of the various saxophones, the pitch is controlled by keys with shallow cups in which are fastened leather pads that seal toneholes, controlling the resonant length, thereby frequency, of the air column within the body tube. Small holes called vents, located between the toneholes and the mouthpiece, are opened by an octave key to raise the pitch by eliminating the fundamental frequency, leaving the first harmonic as the frequency defining the pitch. Most modern saxophones are keyed to produce a low B♭ with all keys closed; the highest keyed note has traditionally been F two and a half octaves above low B♭, while the keyed range is extended to F♯ on most recent performance-class instruments. A high G key is most common on modern soprano saxophones. Notes above F are considered part of the altissimo register of any saxophone, can be produced using advanced embouchure techniques and fingering combinations. Keywork facilitating altissimo playing is a feature of modern saxophones.
Modern saxophone players have extended the range to over four octaves on alto. Music for most saxophones is notated using treble clef; because all saxophones use the same key arrangement and fingering to produce a given notated pitch, it is not difficult for a competent player to switch among the various sizes when the music has been suitably transposed, many do so. Since the baritone and alto are pitched in E♭, players can read concert pitch music notated in the bass clef by reading it as if it were treble clef and adding three sharps to the key signature; this process, referred to as clef substitution, makes it possible for the Eb instruments to play from parts written for baritone horn, euphonium, string bass, trombone, or tuba. This can be useful if a orchestra lacks one of those instruments; the straight soprano and sopranino saxophones consist of a straight conical tube with a flared bell at the end opposite the mouthpiece. The interior of the tube is called the bore. Alto and larger saxophones include a detachable curved neck above the highest tone hole, directing the mouthpiece to the player's mouth and, with rare exceptions, a U-shaped bow that directs the bell upward and a curve in the throat of the bell directing it forward.
The set of curves near the bell has become a distinctive feature of the saxophone family, to the extent that soprano and sopranino saxes are sometimes made in the curved style. The baritone and contrabass saxophones accommodate the length of the bore with extra bows and right-angle bends between the main body and the mouthpiece; the left hand operates keys from the upper part of the body tube while the right hand operates keys from the lower part. The right thumb sits under a thumb hook and left thumb is placed on a thumb rest to stabilize and balance the saxophone, while the weight of most saxophones is supported by a neckstrap attached to a strap ring on the rear of the body of the instrument; the left thumb operates the octave key. With soprano and smaller saxophones weight tends to be borne by the right thumb while a neckstrap provides security for the instrument. Keys consist of the cups, and
The guitar is a fretted musical instrument that has six strings. It is played with both hands by strumming or plucking the strings with either a guitar pick or the finger/fingernails of one hand, while fretting with the fingers of the other hand; the sound of the vibrating strings is projected either acoustically, by means of the hollow chamber of the guitar, or through an electrical amplifier and a speaker. The guitar is a type of chordophone, traditionally constructed from wood and strung with either gut, nylon or steel strings and distinguished from other chordophones by its construction and tuning; the modern guitar was preceded by the gittern, the vihuela, the four-course Renaissance guitar, the five-course baroque guitar, all of which contributed to the development of the modern six-string instrument. There are three main types of modern acoustic guitar: the classical guitar, the steel-string acoustic guitar, the archtop guitar, sometimes called a "jazz guitar"; the tone of an acoustic guitar is produced by the strings' vibration, amplified by the hollow body of the guitar, which acts as a resonating chamber.
The classical guitar is played as a solo instrument using a comprehensive finger-picking technique where each string is plucked individually by the player's fingers, as opposed to being strummed. The term "finger-picking" can refer to a specific tradition of folk, blues and country guitar playing in the United States; the acoustic bass guitar is a low-pitched instrument, one octave below a regular guitar. Electric guitars, introduced in the 1930s, use an amplifier and a loudspeaker that both makes the sound of the instrument loud enough for the performers and audience to hear, given that it produces an electric signal when played, that can electronically manipulate and shape the tone using an equalizer and a huge variety of electronic effects units, the most used ones being distortion and reverb. Early amplified guitars employed a hollow body, but solid wood guitars began to dominate during the 1960s and 1970s, as they are less prone to unwanted acoustic feedback "howls"; as with acoustic guitars, there are a number of types of electric guitars, including hollowbody guitars, archtop guitars and solid-body guitars, which are used in rock music.
The loud, amplified sound and sonic power of the electric guitar played through a guitar amp has played a key role in the development of blues and rock music, both as an accompaniment instrument and performing guitar solos, in many rock subgenres, notably heavy metal music and punk rock. The electric guitar has had a major influence on popular culture; the guitar is used in a wide variety of musical genres worldwide. It is recognized as a primary instrument in genres such as blues, country, folk, jota, metal, reggae, rock and many forms of pop. Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, a flat back, most with incurved sides." The term is used to refer to a number of chordophones that were developed and used across Europe, beginning in the 12th century and in the Americas. A 3,300-year-old stone carving of a Hittite bard playing a stringed instrument is the oldest iconographic representation of a chordophone and clay plaques from Babylonia show people playing an instrument that has a strong resemblance to the guitar, indicating a possible Babylonian origin for the guitar.
The modern word guitar, its antecedents, has been applied to a wide variety of chordophones since classical times and as such causes confusion. The English word guitar, the German Gitarre, the French guitare were all adopted from the Spanish guitarra, which comes from the Andalusian Arabic قيثارة and the Latin cithara, which in turn came from the Ancient Greek κιθάρα. Which comes from the Persian word "sihtar"; this pattern of naming is visible in setar and sitar. The word "tar" at the end of all of these words is a Persian word that means "string". Many influences are cited as antecedents to the modern guitar. Although the development of the earliest "guitars" is lost in the history of medieval Spain, two instruments are cited as their most influential predecessors, the European lute and its cousin, the four-string oud. At least two instruments called "guitars" were in use in Spain by 1200: the guitarra latina and the so-called guitarra morisca; the guitarra morisca had a rounded back, wide fingerboard, several sound holes.
The guitarra Latina had a narrower neck. By the 14th century the qualifiers "moresca" or "morisca" and "latina" had been dropped, these two cordophones were referred to as guitars; the Spanish vihuela, called in Italian the "viola da mano", a guitar-like instrument of the 15th and 16th centuries, is considered to have been the single most important influence in the development of the baroque guitar. It had six courses, lute-like tuning in fourths and a guitar-like body, although early representations reveal an instrument with a cut waist, it was larger than the contemporary four-course guitars. By the 16th century, the vihuela's construction had more in common with the modern guitar, with its curved one-piece ribs, than with the viols, more like a larger version of the contemporary four-course guita
A drum kit — called a drum set, trap set, or drums — is a collection of drums and other percussion instruments cymbals, which are set up on stands to be played by a single player, with drumsticks held in both hands, the feet operating pedals that control the hi-hat cymbal and the beater for the bass drum. A drum kit consists of a mix of drums and idiophones – most cymbals, but can include the woodblock and cowbell. In the 2000s, some kits include electronic instruments. Both hybrid and electronic kits are used. A standard modern kit, as used in popular music and taught in music schools, contains: A snare drum, mounted on a stand, placed between the player's knees and played with drum sticks A bass drum, played by a pedal operated by the right foot, which moves a felt-covered beater One or more toms, played with sticks or brushes A hi-hat, played with the sticks and closed with left foot pedal One or more cymbals, mounted on stands, played with the sticksAll of these are classified as non-pitched percussion, allowing the music to be scored using percussion notation, for which a loose semi-standardized form exists for both the drum kit and electronic drums.
The drum kit is played while seated on a stool known as a throne. While many instruments like the guitar or piano are capable of performing melodies and chords, most drum kits are unable to achieve this as they produce sounds of indeterminate pitch; the drum kit is a part of the standard rhythm section, used in many types of popular and traditional music styles, ranging from rock and pop to blues and jazz. Other standard instruments used in the rhythm section include the piano, electric guitar, electric bass, keyboards. Many drummers extend their kits from this basic configuration, adding more drums, more cymbals, many other instruments including pitched percussion. In some styles of music, particular extensions are normal. For example, some rock and heavy metal drummers make use of double bass drums, which can be achieved with either a second bass drum or a remote double foot pedal; some progressive drummers may include orchestral percussion such as gongs and tubular bells in their rig. Some performers, such as some rockabilly drummers, play small kits that omit elements from the basic setup.
Before the development of the drum set and cymbals used in military and orchestral music settings were played separately by different percussionists. In the 1840s, percussionists began to experiment with foot pedals as a way to enable them to play more than one instrument, but these devices would not be mass-produced for another 75 years. By the 1860s, percussionists started combining multiple drums into a set; the bass drum, snare drum and other percussion instruments were all struck with hand-held drum sticks. Drummers in musical theater shows and stage shows, where the budget for pit orchestras was limited, contributed to the creation of the drum set by developing techniques and devices that would enable them to cover the roles of multiple percussionists. Double-drumming was developed to enable one person to play the bass and snare with sticks, while the cymbals could be played by tapping the foot on a "low-boy". With this approach, the bass drum was played on beats one and three. While the music was first designed to accompany marching soldiers, this simple and straightforward drumming approach led to the birth of ragtime music when the simplistic marching beats became more syncopated.
This resulted in dance feel. The drum set was referred to as a "trap set", from the late 1800s to the 1930s, drummers were referred to as "trap drummers". By the 1870s, drummers were using an "overhang pedal". Most drummers in the 1870s preferred to do double drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems such as Dee Dee Chandler of New Orleans 1904–05. Liberating the hands for the first time, this evolution saw the bass drum played with the foot of a standing percussionist; the bass drum became the central piece around which every other percussion instrument would revolve. William F. Ludwig, Sr. and his brother, Theobald Ludwig, founded the Ludwig & Ludwig Co. in 1909 and patented the first commercially successful bass drum pedal system, paving the way for the modern drum kit. Wire brushes for use with drums and cymbals were introduced in 1912; the need for brushes arose due to the problem of the drum sound overshadowing the other instruments on stage.
Drummers began using metal fly swatters to reduce the volume on stage next to the other acoustic instruments. Drummers could still play the rudimentary snare figures and grooves with brushes that they would play with drumsticks. By World War I, drum kits were marching band-style military bass drums with many percussion items suspended on and around them. Drum kits became a central part of jazz Dixieland; the modern drum kit was developed in the vaudeville era during the 1920s in New Orleans. In 1917, a New Orleans band called "The Original Dixieland Jazz Band " recorded jazz tunes that became hits all o