El 1 de mayo de 1965 una epifanía ocurrió en el cuarto de Keith Richards. En un episodio activo de un sueño , registró una idea de guitarra con su grabadora: tres notas repetitivas seguidas de 40 minutos de ronquidos. Luego, el 12 de mayo –exactamente hace 50 años– el productor Andrew Loog Oldham, grabó esa idea ya desarrollada. Al ser publicada en junio con el nombre de Satisfaction, se cambió la historia del rock pop. Los Rolling Stones crearon un ‘riff’ de vital importancia. Un motivo musical que –para la época– era tan peligroso , como la letra acuñada por Mick Jagger contra el consumismo. No hay traducción exacta del término ‘riff’; mas tiene una sintaxis, que se sobreentiende por encima del anglicismo. “Es la parte fundamental de una obra. Se puede repetir varias veces. En el rock esta es más rítmica que armónica o melódica. Es el ‘leit motive”, asegura el músico y productor Juan Francisco Jijón. El ‘riff’ de Satisfaction , es lo que registró Richards en el sexto piso de un hotel californiano. Es lo que el lector –que ha escuchado el tema– puede imaginar al leer las sílabas: Tata. Tarará. Tarara-tara. Para Jijón, por eso es importante, pues la figura quedó en el inconsciente por generaciones.
“Para mí es un grito de dolor de la guitarra. Aquel grito de rebeldía de la juventud de ese tiempo”, asegura por su parte Roberto Neumane. Este músico guayaquileño , de la primera ola del rock ecuatoriano recuerda que escuchó este tema por primera vez, cuando tenía 14 años, en 1965. Ese grito provenía de un pedal de ‘fuzz’. La presencia de este artefacto entre la guitarra y el amplificador creaba una saturación. Richards no fue el primero en usarlo –Hendrix lo hizo– pero al activarlo en "Satisfaction", popularizó más su uso. Luis León, creador de los pedales de efectos DFZ, explica que este pedal , tiene un funcionamiento simple. Su sistema convierte la onda de sonido regular, en una onda cuadrada con oscilaciones extremas. Richards quería emular una sección de vientos y el pedal le dio la potencia anhelada y la posibilidad de alargar las notas de su instrumento. De acuerdo con Jijón, este sonido aún tiene vigencia , en bandas como Muse , que utilizan distintos tipos de ‘fuzz’. Neumane recuerda que, si bien en los 60, no todos los músicos locales podían adquirir el juguete que daba el sonido a Richards, “todo grupo identificado con el rock tocaba Satisfaction”.
detalle de : nzentgraf site :
11th - 12th May: Los Angeles, RCA Studios, Hollywood.
Producer Andrew Oldham.
Sound engineer: Dave Hassinger.
- Cry To Me (Bert Russell) - STU on piano, Jack Nitzsche on organ;
Out Of Our Heads-version
- Good Times I (Sam Cooke) -STU on marimbas;
Out Of Our Heads-version
- Good Times II (Sam Cooke) -STU on marimbas, with additional backing vocals by Christine Ohlman (added in the early 70's); Necrophilia-version
- I've Been Loving You Too Long I (Otis Redding/Jerry Butler) -STU on organ; clean Collector’s Only-version
- My Girl I (Smokey Robinson/Ronnie White) -without strings
- One More Try (MJ/KR) -STU on piano;
Out Of Our Heads-version
- Satisfaction II (MJ/KR) -Jack Nitzsche on percussion; instrumental backing track
- Satisfaction III (MJ/KR) -Jack Nitzsche on percussion; mono 7“-version
- Satisfaction IV (MJ/KR) -Jack Nitzsche on percussion; edit of mono 7“-version
- Satisfaction V (MJ/KR) -Jack Nitzsche on percussion and piano; stereo version, released on Hot Rocks-CD
- The Spider And The Fly I (MJ/KR) -instrumental
- The Spider And The Fly II (MJ/KR) -7“ version
Additional musician: Jack Nitzsche an piano, organ and percussion
(I can't get no) Satisfaction, dad of riffs, 50th birthday
The May 1, 1965 an epiphany occurred in the fourth Keith Richards. In an active of a dream episode, he posted an idea of guitar with his recorder, three repeated notes followed by 40 minutes of snoring. Then, on May 12-exactly 50 years ago producer Andrew Loog Oldham, recorded that idea and developed. To be published in June by the name of Satisfaction, rock pop history was changed. The Rolling Stones created a 'riff' vital. A musical motif that -for the time-was so dangerous, as coined by Mick Jagger lyrics against consumerism. There is no exact translation of the term 'riff'; but it has a syntax that is understood above anglicized. "It's the essence of a work. It can be repeated several times. In rock this is more rhythmic than melodic or harmonic. Is the "leitmotif" says musician and producer Juan Francisco Jijón. The 'riff' of Satisfaction is what Richards recorded on the sixth floor of a California hotel. It is what the reader has heard the subject- which can imagine when reading the syllables: Tata. Tarara. Tarara-tara. To Jijón, so it is important, as the figure remained unconscious for generations.
"For me it is a cry of pain of the guitar. That cry of revolt of the youth of that time, "says Roberto Neumane meanwhile. This Guayaquil musician, the first wave of the Ecuadorian rock reminds you heard this issue for the first time, when I was 14, in 1965. That cry came from a pedal fuzz '. The presence of this device between the guitar and amplifier saturation created. Richards was not the first to use -Hendrix did-but when activated in "Satisfaction", popularized use. Luis Leon, creator of effects pedals DFZ explains that this pedal has a simple operation. System becomes regular sound wave, a square wave with extreme oscillations. Richards wanted to emulate a horn section and gave the desired pedal power and the possibility of extending the notes of his instrument. According to Jijón, this sound is still valid, in bands like Muse, using different types of 'fuzz'. Neumane recalls that while in the 60s, not all local musicians could buy the toy that gave sound to Richards, "all identified with the rock group played Satisfaction".
Detail: nzentgraf site:
11th - 12th May: Los Angeles, RCA Studios, Hollywood.
Producer Andrew Oldham.
Sound engineer Dave Hassinger.
- Cry To Me (Bert Russell) - STU on piano, Jack Nitzsche on organ;
Out Of Our Heads-version
- Good Times I (Sam Cooke) Stu on marimbas;
Out Of Our Heads-version
- Good Times II (Sam Cooke) Stu on marimbas, With additional backing vocals by Christine Ohlman (added in the early 70's); Necrophilia-version
- I've Been Loving You Too Long I (Otis Redding / Jerry Butler) Stu on organ; Collector's Only-clean version
- My Girl I (Smokey Robinson / Ronnie White) --without strings
- One More Try (MJ / KR) Stu on piano;
Out Of Our Heads-version
- Satisfaction II (MJ / KR) Jack Nitzsche on percussion; instrumental backing track
- Satisfaction III (MJ / KR) Jack Nitzsche on percussion; Monkey 7 "-version
- Satisfaction IV (MJ / KR) Jack Nitzsche on percussion; edit of Monkey 7 "-version
- Satisfaction V (MJ / KR) Jack Nitzsche on percussion and piano; stereo version, released on CD Hot Rocks
- The Spider And The Fly I (MJ / KR) -instrumental
- The Spider And The Fly II (MJ / KR) -7 "version
Additional musician Jack Nitzsche an piano, organ and percussion
No hay comentarios:
Publicar un comentario