(comentario copiado de un blog)
Era de Pasajes de San Juan, Pasai Donibane, de donde es toda mi tribu familiar.La tribu de los Trecet. En su cementerio están enterrados mis padres y abuelos y el padre de Mikel, Teodoro, que era uno de los amigos intimos de mi familia. Años más tarde, comentábamos Mikel y yo esa circunstancia, él músico y yo crítico musical (o lo que sea) recien vuelto a España tras vivir en Londres y haber visto jugar en directo a Barry John y a Gareth Edwards, con J.P.R. Williams...
Eran años de plomo, mediados de los setenta. Mikel era médico y en los ratos libres músico, lo mismo que Benito Lertxundi era educador y en los ratos libres músico... Lourdes Iriondo, Xabier Lete, buscando un nombre que abrochase el colectivo a la imagen y semejanza de los catalanes y sus jueces... "No hay trece" fue el nombre surgido a mediados de los sesenta. Como siempre pasa en arte, los colectivos duran lo que duran y en los setenta cada uno emprendió ruta en solitario, con Mikel y Benito creando trabajos de una profundidad y belleza a la altura de los más grandes creadores que derivan del folk para enriquecernos contemporáneamente. Cualquier nombre excelso que se os ocurra, estará al nivel de estos dos, pero no a nivel superior. Y si fuesemos menos papanatas(yo el primero) colocariamos a los nuestros en el lugar que les corresponde. Dylan, Neil Young, los Chieftains, Serrat, Sabina, Mikel Laboa, Brel, Brassens...Pronunciar los nombres en voz alta, sin complejos y vereis el efecto.
Mikel Laboa ha dejado discos trascendentales para entender el desarrollo de la música europea. El más seminal, "Bat Hiru". Y no caigais en la trampa del "como cantaba en vasco, era un problema... " porque oimos cantar constantemente en inglés y no pasa nada. Y hasta en gaélico, idioma irlandés/escocés enrevesadamente complicado y no pasa nada, nos quedamos con la belleza de las voces, de la composición de los arreglos.
Bat Hiru era un torrente de luz filtrada por las ramas de los arboles en un dia de primavera en el Valle del Baztán. Pero era solo un aspecto del aliento creador de Mikel Laboa. En aquellos años setenta en los que retomé el dialogo con él, Mikel iba de frontón en frontón con un espectáculo musical y visual, cercano en sus conceptos a las acciones artísticas actuales. Se titulaba "IKIMILIKILIKLIK" y era desbordante, asfixiante, contumazmente profunda, aniquiladora, efervescente, UNA OBRA DE ARTE.-Y medios infimos, entre los que la parte más importante era un proyector de diapositivas. Allí, en medio del desarrollo musical de Ikimilikiliklik, un tema músical... No, no era un tema musical, un grito... No, no era un grito, UNA EXPLOSIÓN DE DOLOR, eso, una explosion de dolor, titulada Gernika. Es imposible que intente comentaros lo que era. Habia que verlo. Que oirlo. En directo. Desnudo Mikel musicalmente, con su guitarra y el proyector de diapositivas.
Naturalmente, el caudal de la creatividad fue cooptado por las industrias oficialmente nacionalistas y guardianas de la pureza lingüistica. En todas partes ha sido igual. En nombre de los altos valores de la preservación, les rodeamos de chantajes emocionales para que no puedan abandonar nuestras empresas y si lo intentan , les acusamos con todos los fuegos del infierno. En Cataluña, Edigsa, fuego eterno sobre Serrat por cantar en castellano, ocultando asi que lo que nos jodía era el hecho de que se iban a otra casa de discos y nos fastidiaban el negocio. Luego se ha repetido el concepto, cambiando los protagonistas: Picap, acusando a Maria del Mar Bonet de "haberse vendido" cuando se fue a Madrid a grabar. Maria del Mar Bonet, que en su coche ha tachado la E rodeada de estrellas de la matricula para poner a mano una C... Pero claro, le acusaban de traidora ideológica para ocultar que la "traición" era a la casa de discos que hace negocio con la pamema de la identidad y la cultura de resistencia.
En el Pais Vasco no ha hecho falta "amenazar" a nadie. Los referentes no eran totalmente profesionales y nunca se plantearon salir al exterior con dedicación totalmente profesional. El que lo intentó, Imanol, vivió una historia terrible. Mikel y Benito han seguido en Euskadi y grabando en Euskadi. Y no han podido darse a conocer ni nacionalmente ni internacionalmente. Tenemos más posibilidades de conocer a artistas europeos tales como Goran Bregovic (que canta en serbio) o Eleftería Arvanitaki (que canta en griego) que a Mikel o a Benito.
Mikel Laboa siguió su camino entre la medicina y el arte, una roca del tamaño de Oteiza, contemplando
los dias que con la toalla bajo el brazo iba a la playa de Ondarreta ,"El Peine de los Vientos" de Chillida.
A lo largo de los años, nadie le ha hecho el homenaje que se merecia por el vigor creativo de su obra. No tenemos esa consciencia social que tienen los anglosajones para estas cosas. Cuando queremos darnos cuenta, se nos han muerto las personas a las que podriamos decir los versos del poema "MASA" de Cesar Vallejo, aquello de, "No mueras, te amo tanto, pero el cadaver, ay, siguió muriendo". Pero no olvidemos que ese poema termina asi: "Entonces todos los hombres de la tierra le rodearon, los vio el cadáver, triste, emocionado; incorporóse lentamente; abrazó al primer hombre; echóse a andar..."
PD: !!que le voy a hacer!! todavia le estoy llorando, y lo que me queda aún por llorar.
miércoles, 10 de diciembre de 2008
YUSUF ISLAM - (CAT STEVENS - STEVEN DEMETRE GEORGIOU
Cat Stevens
Yusuf Islam/Cat Stevens
Birth name Steven Demetre Georgiou
Also known as Steve Adams[1][2], Yusuf
Born 21 July 1948 (1948-07-21) (age 60)
Origin London, England
Genre(s)
Folk rock
Pop
Nasheed
Spoken Word
Occupation(s) Singer-songwriter, musician
Instrument(s) Vocals, guitar, bass, piano
Years active 1966–1980 (as Cat Stevens)
1995–present (as Yusuf Islam)
Label(s) Decca Records,
Island Records, A&M, Polydor, Jamal Records, Atlantic/Ya Records
Associated acts Alun Davies
Website http://www.yusufislam.org.uk
Yusuf Islam (born Steven Demetre Georgiou on 21 July 1948), best known by his former stage name Cat Stevens, is a British musician of Greek Cypriot and Swedish ancestry.
He is a singer-songwriter, multi-instrumentalist, educator, philanthropist and prominent convert to Islam.
As Cat Stevens, he sold over 60 million albums around the world since the late 1960s. His albums Tea for the Tillerman and Teaser and the Firecat were both certified as Triple Platinum by the RIAA in the United States; his album Catch Bull at Four sold half a million copies in the first two weeks of release alone, and was Billboard's number-one LP for three consecutive weeks.
His songwriting has also earned him two ASCAP songwriting awards in consecutive years, for "The First Cut Is the Deepest," which has been a hit single for four different artists, and has been instrumental for others in establishing their musical careers.
Stevens converted to Islam at the height of his fame in 1977. The following year, he adopted his Muslim name Yusuf Islam, gave all his guitars away for charity in 1979, [3] and left his music career to devote himself to educational and philanthropic causes in the Muslim community.
He has been given several awards for his work in promoting peace in the world, including 2003's World Award, the 2004 Man for Peace Award and the 2007 Mediterranean Prize for Peace. In 2006, he returned to pop music, with his first album of new pop songs in 28 years, entitled An Other Cup.
He lives with his wife and children in London, and spends part of each year in Dubai.
Contents-
1 Early life (1948–1965)
2 Musical career (1966–1970)
2.1 Early musical career
2.2 Tuberculosis
2.3 Changes in musical sound after illness
3 Musical career (1970-1978)
3.1 Height of popularity
3.2 Exploration with movie soundtracks
3.3 Later Cat Stevens recordings
4 Conversion to the Islamic faith
5 Life as Yusuf Islam (1978–present)
5.1 Muslim faith and musical career
5.2 Salman Rushdie controversy
5.3 September 11 attacks
5.4 Denial of entry into the United States
5.5 Libel cases
5.5.1 British reports regarding deportation
5.5.2 False rumour regarding veiled women
6 Return to music
6.1 An Other Cup
7 Awards
7.1 Philanthropic & humanitarian awards
7.2 Music Awards
8 Discography
9 See also
10 Notes and references
11 Further reading
12 External links
Early life (1948–1965)
Steven Georgiou was the third child of a Greek-Cypriot father, Stavros Georgiou (b. 1900)[4] and a Swedish mother, Ingrid Wickman (b. 1915).[5] He has an older sister, Anita, and brother, David.[6] The family lived above Moulin Rouge, the restaurant that his parents operated on Shaftesbury Avenue, a few steps from Piccadilly Circus in the Soho theatre district of London. Every family member worked in the restaurant.[6] His parents divorced when he was about 8 years old, but they continued to maintain the family restaurant and live above it.
Although his father was Greek Orthodox and his mother a Swedish Baptist, Georgiou was sent to a Catholic school, St. Joseph Roman Catholic Primary School in Macklin Street, which was closer to his father's business on Drury Lane.[7] Georgiou developed an interest in piano at a fairly young age, eventually using the family baby grand piano to work out the chords, since no one else there played well enough to teach him.
At age 15, he extended this interest, and after convincing his father to buy him a guitar for £8, began playing it and writing songs.[8] He would escape at times from his family responsibilities to the rooftop above their home, and listen to the tunes of the musicals drifting from just down the street.[6] With interests in both art and music, he and his mother travelled to Gävle, Sweden, where he started developing his drawing skills after being influenced by his uncle Hugo Wickham, a painter.[9]
He attended other local West End schools, where he says he was constantly in trouble, and did poorly in everything but art. He was called "the artist boy" and mentions that "I was beat up, but I was noticed." [10] He went on to take a one-year course of study at Hammersmith School of Art,[1] as he initially wanted to be a cartoonist. However, though he enjoyed art - his later record albums would feature his original artwork on the covers[10] - he wanted to establish a musical career and began to perform under the stage name "Steve Adams" in 1965 while at Hammersmith.[1][2] At that point, his goal was to become a songwriter. Among the musicians who influenced him are: Bob Dylan, Nina Simone, blues artists Leadbelly and Muddy Waters,[11] John Lennon, Biff Rose who played on his first album, Leo Kottke,[10] and Paul Simon.[12]
He also wanted to emulate composers who wrote musicals, like Ira Gershwin and Leonard Bernstein. In 1965 he signed a publishing deal with Ardmore & Beechwood and cut several demos, including "The First Cut Is the Deepest".[13] Over 30 years later, that song would earn him two consecutive ASCAP awards.
Musical career (1966–1970)
Georgiou began to perform his songs in coffee houses and pubs. At first he tried forming a band, but soon realized he preferred performing solo.[8] Thinking that his given name might not be memorable to prospective fans, he chose a stage name, Cat Stevens, in part because a girlfriend said he had eyes like a cat, but mainly because he said, "I couldn't imagine anyone going to the record store and asking for 'that Steven Demetre Georgiou album'. And in England, and I was sure in America, they loved animals."[14]
In 1966, at age 18, he impressed manager/producer Mike Hurst, formerly of British vocal group The Springfields, with his songs and Hurst arranged for him to record a demo and then helped him get a record deal. The first singles were hits. "I Love My Dog" charted at #28, and "Matthew and Son", the title song from his debut album, went to #2.[15] "I'm Gonna Get Me a Gun" reached Britain's Top 10, and the album Matthew and Son itself began charting. The original version of the Tremeloes cover hit, "Here Comes My Baby", was written and recorded by Stevens.
Over the next two years, Stevens recorded and toured with artists ranging from Jimi Hendrix to Engelbert Humperdinck. The music business hadn't yet begun targeting specific audiences, so he frequently toured with what now would be considered an unusual array of celebrities.
Stevens was considered a fresh-faced teen star, placing several single releases in the British pop music charts. Some of that success was attributed to the pirate radio station Wonderful Radio London, which gained him fans by playing his records. In August 1967, he went on the air with other recording artists who had benefited from the station to mourn its closure.
His December 1967 album New Masters failed to chart in the United Kingdom. The album is now most notable for his song "The First Cut Is the Deepest", a song he sold for £30 to P.P. Arnold that was to become a massive hit for her,[16] and an international hit for Keith Hampshire, Rod Stewart, James Morrison, and Sheryl Crow. The song also has won several songwriting awards, including two ASCAP awards back to back in 2005 and 2006.[17]
Tuberculosis
Stevens was living a fast-moving pop-star life and in early 1968 at the age of 19, he became very ill with tuberculosis and a collapsed lung.[18][10] Near death[18] at the time of his admittance to the King Edward VII Hospital, Midhurst, he spent months recuperating in hospital and a year of convalescence. During this time Stevens began to question aspects of his life, and spirituality. He later said, "To go from the show business environment and find you are in hospital, getting injections day in and day out, and people around you are dying, it certainly changes your perspective. I got down to thinking about myself. It seemed almost as if I had my eyes shut."[15]
He took up meditation, read about other religions, and became a vegetarian.[14] As part of his spiritual awakening and questioning, he wrote as many as 40 songs, which were much more introspective than his previous work. Many of those songs came to appear on his albums in years to come. [19]
Changes in musical sound after illness
The lack of success of Stevens' second album mirrored a difference of personal tastes in musical direction, and a growing resentment at producer Mike Hurst's attempts to re-create another album like that of his debut, with heavy handed orchestration, and over-production,[12] rather than the folk sound Stevens was attempting to produce. He admits having purposefully sabotaged his own contract with Hurst, making outlandishly expensive orchestral demands, and threatening legal action, which resulted in his goal: release from his contract with Deram Records' fledgling record label, Decca Records.[15] He hired agent Barry Krost, who arranged for an audition with Chris Blackwell of Island Records. Following Krost's recommendation, Stevens signed bassist Paul Samwell-Smith, previously known as a member of the Yardbirds, to be his new producer.[20]
Musical career (1970-1978)
Height of popularity
Healthy, sporting a new beard, Stevens was armed with a catalog of new songs that reflected his new perspective on what he wanted to bring to the world with his music. His previous work had sold in the United Kingdom, but Stevens was still relatively unknown by the public across the Atlantic. To rectify this, after signing with Island Records in 1970, an American distribution deal was arranged with A&M Records' Jerry Moss in North America. Stevens began work on Mona Bone Jakon, a folk-rock based album that was quite different from his earlier "pop" style records, drawing on his new, introspective work. Producer Paul Samwell-Smith paired guitarist Alun Davies with Stevens, whom he initially met as a session musician. Alun was the more experienced veteran of two albums which already had begun to explore the emerging genres of skiffle and folk rock music. Davies was also thought a perfect fit in particular for his "fingerwork" on the guitar, harmonizing and contributing backing vocals with Stevens. They originally met just to record Mona Bone Jakon,[21] but developed a fast friendship; Davies, like Stevens, was a perfectionist, appearing after all the sound checks had been completed, just to be sure that all the equipment and sound were prepared for each concert. [22] He recorded on all of the succeeding Stevens' albums with the exception of Foreigner, and continued performing and recording with him until Stevens' retirement. Years later, when Yusuf Islam re-emerged after 27 years, Davies appeared again at his side, and has remained there.
The first single released from Mona Bone Jakon was "Lady D'Arbanville", which Stevens wrote about his young American girlfriend Patti D'Arbanville. The record, with a madrigal sound unlike most music played on the pop radio, with sounds of drums and bass in addition to Stevens' and Davies' guitars, soared to #8 in the U.K. It was the first of his hits to get real airplay in the United States.[15] In addition, the song, "Pop Star", about his experience as a teen star, and "Katmandu", featuring Genesis frontman Peter Gabriel playing flute, were featured. Mona Bone Jakon was an early example of the solo singer-songwriter album format that was becoming popular for artists as well.
Mona Bone Jakon was the precursor for Stevens' international breakthrough album, Tea for the Tillerman, which became a top-10 Billboard hit and within 6 months of its release, sold over 500,000 copies, reaching gold record status in the United States and in Britain, combining Stevens' new folk style with accessible lyrics that spoke of everyday situations and problems, mixed with the beginning of spiritual imagery that would remain in his music from thereon. The album features the top-20 single "Wild World"; a parting song after D'Arbanville moved on. "Wild World" has been credited as the song that gave Tea for the Tillerman 'enough kick' to get it played on FM radio; and the head of Island Records, Chris Blackwell, was quoted as calling it "the best album we’ve ever released".[12] Other album cuts include "Hard-Headed Woman", and "Father and Son", a unique song sung both in baritone and tenor, about the struggle between fathers and their sons who are seeking their own personal choices in life. In 2001, this album was certified by the RIAA as a Multi-Platinum record, having sold 3 million copies in the United States at that time.[23] It is ranked at #206 in Rolling Stone Magazine's 2003 list of the "500 Greatest Albums of All Time". [24]
After the end of his relationship with D'Arbanville, he noted the effect it had on writing his music. Stevens said,
"Everything I wrote while I was away was in a transitional period and reflects that. Like Patti. A year ago we split; I had been with her for two years. What I write about Patti and my family... when I sing the songs now, I learn strange things. I learn the meanings of my songs late..."[25]
Stevens later was romantically linked to popular singer Carly Simon, with whom he shared producer Samwell-Smith. They had a love affair from 1971 to 1972, during which time both wrote songs for and about one another. Simon wrote and recorded at least two top 50 songs, "Legend in Your Own Time" and "Anticipation" about Stevens.[26] He reciprocated in his song to her, after their romance, entitled, "Sweet Scarlet".
Having established a signature sound, Stevens enjoyed a string of successes over the following years. 1971's Teaser and the Firecatalbum reached number two and achieved gold record status within three weeks of its release in the United States. It yielded several hits, including "Peace Train", "Morning Has Broken" (a Christian hymn with lyrics by Eleanor Farjeon), and "Moon Shadow". This album was also certified by the RIAA as a Multi-Platinum record in 2001, with over three million U.S. sales through that time. When interviewed on a Boston radio station, Stevens said about Teaser:
"I get the tune and then I just keep on singing the tune until the words come out from the tune. It's kind of a hypnotic state that you reach after a while when you keep on playing it where words just evolve from it. So you take those words and just let them go whichever way they want... 'Moonshadow'? Funny, that was in Spain, I went there alone, completely alone, to get away from a few things. And I was dancin' on the rocks there... right on the rocks where the waves were, like, blowin' and splashin'. Really, it was so fantastic. And the moon was bright, ya know, and I started dancin' and singin' and I sang that song and it stayed. It's just the kind of moment that you want to find when you're writin' songs."[27]
His next album, Catch Bull at Four, released in 1972, was his most rapidly successful album in the United States, reaching gold record status in 15 days, and holding the number-one position on the Billboard charts for three weeks. This album continued the introspective and spiritual lyrics that he was known for, combined with a rougher-edged voice and a less acoustic sound than his previous records, utilizing synthesizers and other instruments. Although the sales of the album indicated Stevens' popularity, the album did not produce any real hits, with the exception of the single "Sitting", which charted at #16. Catch Bull at Four was Platinum certified in 2001.
Exploration with movie soundtracks
In July 1970, Stevens recorded one of his songs, "But I Might Die Tonight", for the Jerzy Skolimowski film Deep End, which featured Jane Asher.[28]
In 1971, Stevens provided nine songs to the soundtrack of the film Harold and Maude. Two of the songs, "Don't Be Shy" and "If You Want to Sing Out, Sing Out", were not featured on any album until their inclusion on a second "greatest hits" collection: Footsteps in the Dark: Greatest Hits, Vol. 2, in 1984. Harold and Maude, a black comedy starring Ruth Gordon and Bud Cort, became a popular cult movie celebrating the free spirit, and brought Stevens' music to a wider audience, continuing to do so long after he stopped recording in the late 1970s. Among other songs included were "Where Do the Children Play?", "Trouble", and "I Think I See the Light".
After his religious conversion in the late 1970s, Stevens stopped granting permission for his songs to be used in films. Eventually, however, almost twenty years later, in 1997, the movie Rushmore was allowed to use his songs "Here Comes My Baby" and "The Wind", showing a new willingness on his part to release his music from his Western "pop star" days. [29] This was followed in 2002 by Cameron Crowe's use in Almost Famous of the song "The Wind".[30]
Later Cat Stevens recordings
Subsequent releases in the 1970s also did well on the charts and in ongoing sales, however they did not touch the success he had from 1970 to 1973. In 1973, Stevens moved to Rio de Janeiro, Brazil, to avoid taxation from the United Kingdom. During that time he created the album Foreigner, an album which was a departure from the music that had brought him to the height of his fame. It differed in several respects: entirely written by Stevens, he dropped his band and produced the record without the assistance of Samwell-Smith, who had played a large role in catapulting him to fame, and instead of guitar, he played keyboards throughout the album. It was intended to show the funk/soul element that he had come to appreciate. He performed the album on an uninterrupted television show on ABC titled the "Moon and Star" concert. The album produced a couple of singles including "The Hurt", but the album did not reach the heights he had once enjoyed.
His final original album under the name Cat Stevens was Back to Earth, released in late 1978, which was also the first album produced by Samwell-Smith since his peak in single album sales in the early 1970s.
Several compilation albums were released before and after he stopped recording. The most successful of these was the 1975 Greatest Hits which has sold over 4 million copies in the United States. In May 2003 he received his first Platinum Europe Award[31] from the IFPI for Remember Cat Stevens, The Ultimate Collection, indicating over one million European sales.
In 1977, Stevens secured his last chart hit with "(Remember the Days of the) Old Schoolyard", a duet billed with fellow UK singer Elkie Brooks, although she remains uncredited on the release.[32]
Another woman appears on the video that was made of the song, with Cat Stevens singing to her, as they play former schoolmates, singing to each other on a schoolyard "merry-go-round". This is one of few videos that Stevens made, other than simple videos of concert performances.
Conversion to the Islamic faith
Stevens' first real memory of Islam took place when he had left for Marrakech, Morocco, to get away, think, and write songs. He heard a voice unlike one he had ever heard before. When he asked what it was, -- the Aḏhān, a ritual call for prayer by the muezzin of a mosque, --he was told "that is music for God".
Stevens said, "I thought, music for God? I’d never heard that before – I’d heard of music for money, music for fame, music for personal power, but music for God!" [33]
In 1976 Stevens nearly drowned off the coast of Malibu, California and shouted: “Oh God! If you save me I will work for you.”
He says, right afterward, a wave appeared and carried him back to shore. This brush with mortality intensified his long-held quest for spiritual truth. He had looked into "Buddhism, Zen, and I Ching, Numerology, tarot cards and Astrology".[14] Stevens' brother David Gordon brought him a birthday gift from a recent trip to Jerusalem.[29] It was a copy of the Qu'ran. Stevens took to it right away, and began to find peace with himself and began his transition to Islam.
During the time he was studying the Qu'ran, he began to identify more and more with the name of Joseph, a man bought and sold in the market place, which is how he had increasingly felt, within the music business.[20] Regarding his conversion, in his 2006 interview with Alan Yentob,[34] he stated, "to some people, it may have seemed like an enormous jump, but for me, it was a gradual move to this." And, in a Rolling Stone Magazine interview, he reaffirmed this, saying, "I had found the spiritual home I'd been seeking for most of my life. And if you listen to my music and lyrics, like "Peace Train" and "On The Road To Find Out", it clearly shows my yearning for direction and the spiritual path I was travelling."[35] Stevens had been seeking inner peace and spiritual answers throughout his career, and now believed he had found what he had been seeking.
Stevens formally converted to the Islamic faith on December 23, 1977, becoming a Muslim. In 1978, Stevens took the name Yusuf Islam. Yusuf is the Arabic rendition of the name Joseph. He stated that he "always loved the name Joseph" and was particularly drawn to the story of Joseph in the Qur'an.[20] Although he discontinued his pop career, he was persuaded to perform one last time before his twenty-five year musical hiatus at a concert in Wembley Stadium, on November 22, 1979, with David Essex, and Alun Davies, in a charity benefit for UNICEF's International Year of the Child Concert.
In an arranged marriage with the assistance of his mother, Yusuf married Fauzia Mubarak Ali in September 1979, at Regent's Park Mosque in London. It was the 1,000th such ceremony to take place at the mosque. The couple have five children.
[edit] Life as Yusuf Islam (1978–present)
[edit] Muslim faith and musical career
Following his conversion, Yusuf Islam abandoned his career as a pop star. The use of musical instruments other than the voice and the drum is an area of debate in Muslim jurisprudence, considered harām by some, and this is the primary reason he gave for retreating from the pop spotlight. In his first performance on the television show, Later... with Jools Holland, 27 years after leaving the "pop" music business, and in other interviews, he gave other reasons for leaving the pop stage. "A lot of people would have loved me to keep singing," Islam said. "You come to a point where you have sung, more or less ... your whole repertoire and you want to get down to the job of living. You know, up until that point, I hadn't had a life. I'd been searching, been on the road." [7]
Estimating in January 2007 that he continues to earn approximately $1.5 million USD a year from his Cat Stevens music,[36] he decided to use his accumulated wealth and continuing earnings from his music career on philanthropic and educational causes in the Muslim community of London and elsewhere. In 1981, he founded the Islamia Primary School in Salusbury Road in the north London area of Kilburn and soon after, founded several Muslim secondary schools and devoted his energy to providing an Islamic education to children and to donate the rest to charitable causes. He established, and is the founder and chairman of the Small Kindness charity, which initially assisted famine victims in Africa and now supports thousands of orphans and families in the Balkans, Indonesia, and Iraq.[37] He served as chairman of the charity Muslim Aid from 1985 to 1993.[38]
In 1985, Yusuf Islam decided to return to the public spotlight for the first time since his religious conversion, at the historic Live Aid concert, concerned with the famine threatening Ethiopia. Though he had written a song especially for the occasion, his appearance was skipped when Elton John's set ran too long.[39]
Salman Rushdie controversy
Main article: Cat Stevens' comments about Salman Rushdie
The singer attracted controversy in 1989, during an address to students at London's Kingston University, where he was asked about the fatwa calling for the death of author Salman Rushdie. Newspapers quickly interpreted his response as support for the fatwa, but he released a statement the following day which said that he had not been supporting vigilantism, and was merely explaining the legal Islamic punishment for blasphemy. In a BBC interview he displayed a newspaper clipping from that time period, which quotes from his statement. Subsequent comments made by him in 1989 were also seen as being in support of the fatwa.
While there has been an ongoing debate over the degree to which the singer supported the call for the assassination of Rushdie, the incidents left an indelible mark on his reputation as a "man of peace".[40] He maintains that he was misinterpreted.[41][19]
September 11 attacks
Immediately following the 11 September 2001, attacks on the United States, he said:
I wish to express my heartfelt horror at the indiscriminate terrorist attacks committed against innocent people of the United States yesterday. While it is still not clear who carried out the attack, it must be stated that no right-thinking follower of Islam could possibly condone such an action. The Qur'an equates the murder of one innocent person with the murder of the whole of humanity. We pray for the families of all those who lost their lives in this unthinkable act of violence as well as all those injured; I hope to reflect the feelings of all Muslims and people around the world whose sympathies go out to the victims of this sorrowful moment.[42]
He appeared on videotape on a VH-1 pre-show for the October 2001 Concert for New York City, condemning the attacks and singing his song "Peace Train" for the first time in public in more than 20 years, an a cappella version. He also donated half of his box-set royalties to the September 11 Fund for victims' families, and the other half to orphans in underdeveloped countries.[43]
Denial of entry into the United States
On 21 September 2004, Yusuf Islam was travelling on a United Airlines flight from London to Washington, en route to a meeting with singer Dolly Parton, who had recorded "Peace Train" several years earlier and was planning to include another Cat Stevens song on an upcoming album.[34] While the plane was in flight, the Computer Assisted Passenger Prescreening System flagged his name as being on a no fly list. Customs agents alerted the United States Transportation Security Administration, which then diverted his flight to Bangor, Maine, where he was detained by agents from Department of Homeland Security.[44]
The following day, Yusuf Islam was deported back to the United Kingdom. The Transportation Security Administration claimed there were "concerns of ties he may have to potential terrorist-related activities."[45] The Israeli government had deported Yusuf Islam in 2000 over allegations that he provided funding to the Palestinian organization Hamas[46]; he denied doing so knowingly.[47] "I have never knowingly supported or given money to Hamas," says Islam, who repeatedly has condemned terrorism and Islamic extremism. "At the time I was reported to have done it, I didn't know such a group existed. Some people give a political interpretation to charity. We were horrified at how people were suffering in the Holy Land."[47] However,the United States Department of Homeland Security added him to their FBI- watch list. [1] The U.S. deportation provoked a small international controversy, and led British Foreign Secretary Jack Straw to complain personally to U.S. Secretary of State Colin Powell at the United Nations.[48] Powell responded by stating that the watch list was under review, and added, "I think we have that obligation to review these matters to see if we are right."[49]
Yusuf Islam believed his inclusion on the watch list may have simply been an error, a mistaken identification of him for a man with the same name, but different spelling. On 1 October 2004 Yusuf Islam requested the removal of his name, "I remain bewildered by the decision of the US authorities to refuse me entry to the United States."[50] According to a statement by Yusuf Islam, the man on the list was named "Youssef Islam", indicating that Yusuf Islam himself was not the suspected terrorism supporter.[7]
Two years later, in December 2006, Yusuf Islam was admitted without incident into the United States for several radio concert performances and interviews to promote his new record.[51] Islam said of the incident at the time, that, "No reason was ever given, but being asked to repeat the spelling of my name again and again, made me think it was a fairly simple mistake of identity. Rumors which circulated after made me imagine otherwise."[52]
Islam has written a song about the 2004 deportation experience, titled "Boots and Sand", recorded in the summer of 2008, featuring Paul McCartney, Alison Krauss, Dolly Parton, and Terry Sylvester.[53]
Libel cases
British reports regarding deportation
In October 2004 the British newspapers The Sun and The Sunday Times voiced their support for Yusuf Islam's deportation by the U.S. government, claiming that he had supported terrorism. Islam successfully sued for libel and received a substantial out-of-court financial settlement and apologies from the newspapers stating that he had never supported terrorism and acknowledging that he had recently been given a Man of Peace award from the private Nobel Peace Prize Laureates Committee. However The Sunday Times managing editor Richard Caseby said that while there was an "agreed settlement", they "always denied liability" and "disagreed with Cat Stevens' lawyers interpretation", but took a "pragmatic view" of the lawsuit.[54]
Yusuf Islam responded that he was "...delighted by the settlement [which] helps vindicate my character and good name.... It seems to be the easiest thing in the world these days to make scurrilous accusations against Muslims, and in my case it directly impacts on my relief work and damages my reputation as an artist. The harm done is often difficult to repair", and added that he intended to donate the financial award given to him by the court to help orphans of the tsunami in the Indian Ocean.[54]
Yusuf Islam wrote about the experience in a newspaper article titled "A Cat in a Wild World".[55]
False rumour regarding veiled women
On 18 July 2008, Yusuf Islam received substantial undisclosed damages from the World Entertainment News Network following their distribution of the false rumour that the singer did not speak to unveiled women.[56] The allegations first surfaced in German newspaper B.Z. after Yusuf's trip to Berlin in March 2007 to collect the ECHO award for "life achievements as musician and ambassador between cultures".[57] Once again he was awarded damages after the World Entertainment News Network allowed an article to be published on Contactmusic.com, a "website said to have 2.2 million page views a month",[56] alleging that Islam would not speak to unveiled women with the exception of his wife. His solicitor was reported as having said that "he was made out to be 'so sexist and bigoted that he refused at an awards ceremony to speak to or even acknowledge any women who were not wearing a veil,'".[56][58] The offending news agency apologized, admitting that Islam has never had any problem in working with women and, contrary to the article in question, never has needed a third party as an intermediary to function at work.[57] The money from this lawsuit will go to Islam's Small Kindness Charity.[56]
Yusuf Islam himself discusses this topic on his website, saying, "It’s true that I have asked my manager to respectfully request lady presenters from embracing me when giving awards or during public appearances, but that has nothing to do with my feelings or respect for them. Islam simply requires me to honour the dignity of ladies or young girls who are not closely related to me, and avoid physical intimacy, however innocent it may be." He adds, "My four daughters all follow the basic wearing of clothes which modestly cover their God-given beauty. They’re extremely well educated; they do not cover their faces and interact perfectly well with friends and society.."[59]
[edit] Return to music
By the early 1990s, for several years, Yusuf Islam only made recordings featuring lyrics about Islamic themes accompanied solely by drums and percussive instruments, which he felt were acceptable to his faith. In the late 1990s, he was featured as a guest singer on "God Is the Light", a song on an album of nasheeds by the group Raihan. In addition, he invited and collaborated with other Muslim singers, including Canadian artist Dawud Wharnsby Ali, in his private Mountain of Light Studio.
After realizing there were few materials designed to educate children about the Islamic religion, Yusuf wrote and produced a children's album in 2000; A Is for Allah,[60] with the assistance of Zain Bhikha from South Africa, featuring the title song Islam had written to introduce his first child to both Islam and the Arabic alphabet, "A is for Allah", when she was a baby. He also established his own record label, "Jamal Records", and Mountain of Light Productions, which donates a percentage of its proceeds to his Small Kindness charity. The phrase, "Small Kindness" comes directly from the Qu'ran, where charity is compulsory, called Zakāh and is one of the Five Pillars of Islam.[61]
On the occasion of the 2000 re-release of his Cat Stevens albums, Yusuf explained that he had stopped performing in English due to his misunderstanding of the Islamic faith. "This issue of music in Islam is not as cut-and-dried as I was led to believe ... I relied on heresy (sic),[62] that was perhaps my mistake."[60]
He also spoke about feeling that when he left the Western pop music business, that perhaps the cut between his former life and his life as a Muslim might have been too quick, too severe, and that more people might have been better informed about Islam, and given an opportunity to understand it, and himself, better if he had simply removed those items that were considered harām, in his performances, allowing him to express himself musically and educate listeners through his music without violating any religious constraints.[63]
In 2003, after repeated encouragement from within some sectors of the Muslim world, Yusuf Islam once again recorded "Peace Train" for a compilation CD, which also included performances by David Bowie and Sir Paul McCartney. He performed "Wild World" in Nelson Mandela's 46664 concert with his former session player Peter Gabriel, the first time he had publicly performed in English in 25 years. In December 2004, he and Ronan Keating released a new version of "Father and Son", that debuted at number two, behind Band Aid 20's "Do They Know It's Christmas?". Additionally, they produced a video of the pair walking between photographs of fathers and sons, while singing the song. The proceeds of "Father and Son" were donated to the Band Aid charity. Keating's former group, Boyzone, had a hit with the song a decade earlier. As he had been persuaded before, Islam contributed to the song, because the proceeds were marked for charity. However, this marked a point in his artistic career where he now entertained the concept of using more than simply voice and drums.
On 21 April 2005 Yusuf Islam gave a short talk before a scheduled musical performance in Abu Dhabi, United Arab Emirates, on the anniversary of the Prophet Muhammad's birthday. He said, "There is a great deal of ignorance in the world about Islam today, and we hope to communicate with the help of something more refined than lectures and talks. Our recordings are particularly appealing to the young, having used songs as well as Holy Qu'ran verses with pleasing sound effects..."[64] Islam explained that while there had been no real guidelines about instruments in the Qu'ran, and no reference about the business of music, he stated that it had been Muslim travellers who first brought the guitar to Moorish Spain. He noted that the Prophet Muhammad was fond of celebrations, as in the case of the birth of a child, or a traveller arriving after a long journey. Thus, Islam concluded, that he felt that healthy entertainment was acceptable within limitations, and that he now felt that it was no sin to perform with the guitar. Music, he now felt, is uplifting to the soul; something sorely needed in these troubled times. [65] At that point, he was joined by several young male singers who sang backing vocals and played drum, with Islam as lead singer and guitarist. They performed two songs, "Tala'a Al-Badru Alayna", an old song in Arabic which Yusuf Islam has recorded with a folk sound to it; half of the song is in Arabic, while the other half is in English, and "The Wind East and West", a new song with a distinct R&B sound.
With that performance, he began slowly to integrate instruments into both older material from his Cat Stevens era, (some with slight lyrical changes), and new songs, both those known to the Muslim communities around the world, and some that have the same Western flair from before with a focus on new topics and another generation of listeners.[63] In a 2005 press release, he explains his revived recording career:
After I embraced Islam, many people told me to carry on composing and recording, but at the time I was hesitant, for fear that it might be for the wrong reasons. I felt unsure what the right course of action was. I guess it is only now, after all these years, that I've come to fully understand and appreciate what everyone has been asking of me. It's as if I've come full circle; however, I have gathered a lot of knowledge on the subject in the meantime. [66]
—[67]
In early 2005, Yusuf Islam released a new song entitled "Indian Ocean" about the 2004 tsunami disaster. The song featured Indian composer/producer A. R. Rahman, A-ha keyboard player Magne Furuholmen and Travis drummer Neil Primrose. Proceeds of the single went to help orphans in Banda Aceh, one of the areas worst affected by the tsunami, through Islam's Small Kindness charity. At first, the single was released only through several online music stores but later highlighted the compilation album Cat Stevens: Gold.
On 28 May 2005, Yusuf Islam delivered a keynote speech and performed at the Adopt-A-Minefield Gala in Düsseldorf. The Adopt-A-Minefield charity, under the patronage of Sir Paul McCartney, works internationally to raise awareness and funds to clear landmines and rehabilitate landmine survivors. Yusuf Islam attended as part of an honorary committee which also included Sir George Martin, Sir Richard Branson, Dr. Boutros Boutros-Ghali, Klaus Voormann, Christopher Lee and others.[68]
In mid-2005, Yusuf Islam played guitar for the Dolly Parton album, Those Were the Days, on her version of his "Where Do the Children Play". (Parton had also covered "Peace Train" a few years earlier.)
In May 2006, in anticipation of his forthcoming new pop album, the BBC1 programme "Imagine" aired a 49-minute documentary with Alan Yentob called Yusuf: The Artist formerly Known as Cat Stevens. This documentary film features rare audio and video clips from the late 1960s and 1970s, as well as an extensive interview with Yusuf Islam, his brother David Gordon, several record executives, Bob Geldof, Dolly Parton, and others outlining his career as Cat Stevens, his conversion and emergence as Yusuf Islam, and his return to music in 2006. There are clips of him singing in the studio when he was recording An Other Cup as well as a few 2006 excerpts of him on guitar singing a few verses of Cat Stevens songs including "The Wind" and "On the Road to Find Out". Yusuf has credited his then 21 year old son Muhammad Islam, also a musician and artist, for his return to secular music, when the son brought a guitar back into the house, which Yusuf began playing. [19] Muhammad's professional name is believed to be "Yoriyos"[69] and his debut album was released in February 2007.[70] Yoriyos created the art on Yusuf's album An Other Cup, something that Cat Stevens did for his albums in the 1970s.
Starting in 2006, the Cat Stevens song "Tea for The Tillerman" was used as the theme tune for the Ricky Gervais BBC-HBO sitcom Extras. A Christmas-season television commercial for gift-giving by the diamond industry aired in 2006 with Cat Power's cover of "How Can I Tell You". That song was also covered by John Frusciante of the Red Hot Chili Peppers on a solo album.
In December 2006, Yusuf was one of the artists that performed at the Nobel Peace Prize Concert in Oslo, Norway, in honour of the prize winners, Muhammad Yunus and Grameen Bank. He performed the songs "Midday (Avoid City After Dark)," "Peace Train," and "Heaven/Where True Love Goes." Yusuf also gave a concert in New York City that month as a "Jazz at Lincoln Center" event, recorded and broadcast by KCRW-FM radio, along with an interview by Nic Harcourt. Accompanying Yusuf, as he had in the Cat Stevens days, was Alun Davies, on guitar and vocals.
In April 2007, BBC1 broadcast a concert given at the Porchester Hall by Yusuf as part of BBC Sessions, his first live performance in London in 28 years (the previous one being the UNICEF "Year of the Child" concert in 1979). He played several new songs along with some "Father & Son", "The Wind", "Where Do the Children Play?", "Don't Be Shy", "Wild World", and "Peace Train".
In July 2007, Yusuf performed at a concert in Bochum, Germany, in benefit of Archbishop Desmond Tutu's Peace Centre in South Africa and the Milagro Foundation of Deborah and Carlos Santana. The audience included Nobel Laureates Mikhail Gorbachev, Desmond Tutu and other prominent global figures. He later appeared as the finale act in the German leg of Live Earth in Hamburg performing some classic Cat Stevens songs and more recent compositions reflecting his concern for peace and child welfare. His set included Stevie Wonder's "Saturn", "Peace Train", "Where Do the Children Play?", "Ruins", and "Wild World".
Yusuf performed at the Peace One Day concert at the Royal Albert Hall on 21 September 2007.[71] In 2008 Yusuf Islam contributed the song "Edge of Existence" to the Survival International charity album Songs for Survival.
[edit] An Other Cup
Main article: An Other Cup
In March 2006, Yusuf Islam finished recording his first all-new pop album since 1978.[72] The album, An Other Cup, was released internationally in November 2006 on his own label, Ya Records (distributed by Polydor Records in the UK and internationally by Atlantic Records) — the 40th anniversary of his first album, Matthew and Son. A single was simultaneously released from the album, called "Heaven/Where True Love Goes". The album was produced with Rick Nowels, who has worked with Dido and Rod Stewart. The performer is noted as "Yusuf", with a cover label identifying him as "the artist formerly known as Cat Stevens". The art on the album is credited to Yoriyos. Yusuf Islam wrote all of the songs except "Don't Let Me Be Misunderstood",[73] and recorded it in the United States and the United Kingdom.[72]
Yusuf actively promoted this album, appearing on radio, television and in print interviews. In November, 2006, he told the BBC, "It's me, so it's going to sound like that of course ... This is the real thing... . When my son brought the guitar back into the house, you know, that was the turning point. It opened a flood of, of new ideas and music which I think a lot of people would connect with."[74] Originally, Yusuf began to return only to his acoustic guitar as he had in the past, but his son encouraged him to "experiment", which resulted in the purchase of a Stevie Ray Vaughn Fender Telecaster[75] in 2007.
Again, in November 2006 Billboard magazine was curious as to why [76] the artist is credited as just his first name, "Yusuf" rather than "Yusuf Islam". His response was "Because 'Islam' doesn't have to be sloganized. The second name is like the official tag, but you call a friend by their first name. It's more intimate, and to me that's the message of this record." As for why the album sleeve says "the artist formerly known as Cat Stevens", he responded, "That's the tag with which most people are familiar; for recognition purposes I'm not averse to that. For a lot of people, it reminds them of something they want to hold on to. That name is part of my history and a lot of the things I dreamt about as Cat Stevens have come true as Yusuf Islam."[76]
Yusuf was asked by the Swiss periodical Das Magazin why the title of the album was An Other Cup, rather than "Another Cup". The answer was that his breakthrough album, Tea for the Tillerman in 1970, was decorated with Yusuf's painting of a peasant sitting down to a cup of
steaming drink on the land. Yusuf commented that the two worlds... then, and now, are very different. His new album shows a steaming cup alone on this cover. His answer was that this was actually an other cup; something different; a bridge between the East and West, which Yusuf explained was his own perceived role. He added that, through him, Westerners might get a glimpse of the East, and Easterners, some understanding of the West. The cup, too, is important; it's a meeting place, a thing meant to be shared.[67]
On CBS Sunday Morning in December 2006, Yusuf said, "You know, the cup is there to be filled ... with whatever you want to fill it with. For those people looking for Cat Stevens, they'll probably find him in this record. If you want to find Yusuf, go a bit deeper, you'll find him."[19]
[edit] Awards
[edit] Philanthropic & humanitarian awards
2003 World Award also known as the "World Social Award" for "humanitarian relief work helping children and victims of war". [77]
2004 Man for Peace Award presented by Mikhail Gorbachev for his "dedication to promote peace, the reconciliation of people and to condemn terrorism", the ceremony was held in Rome, Italy and attended by five Nobel Peace Prize laureates.
(2005) Honorary Doctorate by the University of Gloucestershire for services to education and humanitarian relief.[78]
(2007), Yusuf Islam was awarded the Mediterranean Prize for Peace in Naples, Italy. He received the award "as a result of the work he has done to increase peace in the world".[79]
On 10 July 2007, Honorary doctorate (LLD) by the University of Exeter, in recognition of "his humanitarian work and improving understanding between Islamic and Western cultures".[80] The ceremony was attended by esteemed personalities including Professor Ekmeleddin Ihsanoglu and guitarist Brian May.
Music Awards
2005 Nomination for induction into the Rock and Roll Hall of Fame [81]
On 20 October 2005, ASCAP Named Songwriter of the Year and Song of the Year for "The First Cut Is the Deepest" [82]
On 11 October 2006, Awarded Songwriter of the Year for the second year running, for the same song "The First Cut Is the Deepest".[83]
On 25 March 2007, he received the German ECHO "special award for life achievements as musician and ambassador between cultures", Europe's Grammy, in Berlin[57]
2008 Nomination for induction into the Songwriters Hall of Fame [84]
^ a b c d "Yusuf's return to musical roots". BBC (2004=09-22). Retrieved on 2008-07-19.
^ a b Ruhlmann, William. "Cat Stevens Biography on Yahoo Music". All Music Guide. Retrieved on 2008-11-26.
^ CBS (August 12, 2007). "Yusuf Islam Reflects On His Return" 3. CBS News. Retrieved on 2008-11-29.
^ "Yusuf Islam Lifeline:1900". Yusuf Islam official website. Retrieved on 2008-09-26.
^ "Yusuf Islam Lifeline:1915". Yusuf Islam official website. Retrieved on 2008-09-26.
^ a b c "Yusuf Islam Lifeline:1948". Yusuf Islam official website. Retrieved on 2008-09-23.
^ a b c "Interview With Yusuf Islam, Formerly Cat Stevens, Larry King Live", CNN (2004-10-07). Retrieved on 7 January 2007.
^ a b "Yusuf Islam Lifeline:1963". Yusuf Islam official website. Retrieved on 2008-09-23.
^ "From kitten to cat". Fabulous 208. Retrieved on 2008-11-26.
^ a b c d Windeler, Robert (October 1972). "Cat Stevens" (in English), Volume 29, #4, Stereo Review, p. 76. Retrieved on 17 October 2008.
^ Islam, Yusuf (2008). "Yusuf Islam Lifeline 1964" 1964. Official Website. Retrieved on 2008-11-08.
^ a b c Scoppa, Bud (May 24, 1971). "Easy Does It", Rock Magazine. Retrieved on 25 October 2008.
^ "Yusuf Islam Lifeline:1965". Yusuf Islam official website. Retrieved on 2008-09-26.
^ a b c Reiter, Amy (1999-08-14). "Salon People: Cat Stevens"". Salon. Retrieved on 2008-10-24.
^ a b c d "Yusuf Islam: Biography". Yusuf Islam official website. Retrieved on 2008-09-23.
^ Marrin, Minette (2004-09-26). "Profile: Yusuf Islam aka Cat Stevens: Not so much a zealot more a lost musician", The Sunday Times. Retrieved on 22 July 2008.
^ "Songwriter of the Year, Yusuf Islam (formerly Cat Stevens), First Cut Is The Deepest". ASCAP. Retrieved on 2008-10-24.
^ a b O'Driscoll, Michelle (1972-07-29). "Tea With The Tillerman", Disc Magazine. Retrieved on 24 October 2008.
^ a b c d Phillips, Mark (2006-12-03). "Yusuf Islam Reflects On His Return; Artist Once Known As Cat Stevens Talks About New Album", CBS Sunday Morning. Retrieved on 12 August 2007.
^ a b c Forbes, Jim (host). (2000). Cat Stevens: Behind the Music [TV-Series]. United States: VH1.
^ "Cat’s Man", Disc and Music Echo (1972-02-05). Retrieved on 24 October 2008.
^ "Alun Davies' Main Page". Retrieved on 2008-10-24.
^ "RIAA Platinum Ranking".
^ "500 Greatest Albums of All Time", Rolling Stone (2003-11-03). Retrieved on 24 October 2008.
^ Fong-Torres, Ben (1971-04-01). "Cat Stevens Out of the Bag", Rolling Stone. Retrieved on 14 August 2008.
^ NPR interview, July 28, 2005 on Morning Edition.
^ Crouse, Timothy (1971-12-09). "Cat Stevens on Teaser and the Firecat", Rolling Stone Magazine. Retrieved on 24 October 2008.
^ "Yusuf Islam Lifeline:1970". Yusuf Islam official website. Retrieved on 2008-09-26.
^ a b Durrani, Anayat (October 2000). "VH1 Profiles Cat Stevens in "Behind the Music"" (in English). Islamfortoday.com. Retrieved on 2008-11-02.
^ Olsen, Mark Movie Soundtrack for Almost Famous
^ May 2003 - Platinum Europe Awards, IFPI
^ Songfacts
^ Garner, Lesley (April, 19, 2002). "Playing God’s Music" (in English), Evening Standard , pp. Life Articles. Retrieved on 12 October 2008.
^ a b Yusuf Islam: The Artist Formerly Known as Cat Stevens. BBC. Interview with Alan Yentob, May 2006.
^ Dansby, Andrew (June 21, 2000). "Cat Stevens Breaks His Silence". Rolling Stone Magazine. Retrieved on 2008-11-06.
^ "Questions for Yusuf Islam: Singing a New Song" Interview with Deborah Solomon, The New York Times Magazine, 7 January 2007
^ "Word from Our Chairman Yusuf Islam". Small Kindness. Retrieved on 2006-05-06.
^ Official Website, Mountain of Light
^ Kelly, Jane (1998-03-24). "Worlds Apart: People thought I was mad when I stopped being Cat Stevens the rock star — but I've never been happier", Daily Mail. Retrieved on 6 May 2006.
^ Bio Shows Cat Stevens As a Man of Peace
^ "Cat Stevens Breaks His Silence", interview by Andrew Dansby, June 14, 2000
^ Andrew Dansby (2001-09-17). "Cat Stevens Condemns Attack", Rolling Stone. Retrieved on 6 June 2008.
^ Music Legend Gives Huge Donation to Flood Relief Fund
^ Sara Kehaulani Goo (2004-09-22). "Cat Stevens held after D.C. flight diverted", The Washington Post. Retrieved on 6 December 2007.
^ Sara Kehaulani Goo (2004-09-23). "Cat Stevens leaves U.S. after entry denied", The Washington Post. Retrieved on 6 December 2007.
^ Dansby, Andrew (July 13, 2000). "Israel Rejects the Former Cat Stevens", Rolling Stone Magazine. Retrieved on 12 October 2008.
^ a b Edna Gundersen (2006-12-16). "'Cat Stevens' returns to music", USA Today. Retrieved on 29 August 2008.
^ "Cat Stevens "shock" at US refusal", BBC (2004-09-23). Retrieved on 6 December 2007.
^ "Powell orders review", Sky News (2004-09-30). Retrieved on 6 December 2007.
^ "Yusuf Islam wants name off 'no-fly' list", Associated Press (2004-10-02). Retrieved on 6 December 2007.
^ Jon Pareles (2006-12-20). "Yusuf Islam Steps Back Into Cat Stevens's Old Sound". Retrieved on 6 December 2007.
^ "Chinese Whiskers: Why was he turned away from USA?". Yusuf Islam official website. Retrieved on 2008-11-26.
^ "Yusuf Islam Lifeline:August 2008". Yusuf Islam official website. Retrieved on 2008-09-23.
^ a b "Singer Islam gets libel damages", BBC (2005-02-15). Retrieved on 6 May 2006.
^ Islam, Yusuf (2004-10-01). "A cat in a wild world", The Guardian. Retrieved on 6 May 2006.
^ a b c d "Yusuf Islam wins damages for "veiled women" slur", Reuters (2008-07-18). Retrieved on 7 October 2008.
^ a b c Marc Marot (2007-04-02). "Yusuf Islam's Manager Refutes 'Veil' Allegations", PR Inside. Retrieved on 7 October 2008.
^ "Cat Stevens accepts libel damages", BBC (2008-07-18). Retrieved on 7 October 2008.
^ "He Won't Talk to Unveiled Women, Right?". FAQ. YusufIslam.com. Retrieved on 2008-10-07.
^ a b Nolen, Stephanie (2000-05-22). "The Cat's Comeback", The Globe and Mail, p. R1. Retrieved on 12 January 2007.
^ Qu'ran, Surah 107 Al-Ma’oon (The small kindness)
^ Note that some online sources render this word as "hearsay" but the official copy from The Globe and Mail online archives says "heresy".
^ a b Islam, Yusuf. "NEW Yusuf ISlam Interview And A Is For Allah Peace Train Cat STevens". Video of Interview 1-6. Turn to Islam. Retrieved on 2008-07-30.
^ New Recordings by Yusuf Islam
^ Islam, Yusuf (May 22, 2005). "Yusuf Islam in Abu Dhabi". Emirates TV. Retrieved on 2008-07-31.
^ Mountain of Light (2005-01-24). "Yusuf Islam sings for tsunami victims and told to make more music and spread peace". Press release. Retrieved on 6 May 2006.
^ a b Mingels, Guido (12 December 2006). ""To Be, You Must Give up What You Are" - Interview with Yusuf Islam". ARABIA.pl. Retrieved on 2008-07-21.
^ Yusuf Islam Official website
^ "Cat Stevens' Son Makes Music Debut"
^ Official website for Yoriyos.
^ All-star line up for Peace One Day
^ a b Newman, Melinda (2006-03-17). "A cat in a wild world", Billboard.com. Retrieved on 9 June 2006.
^ written by Bennie Benjamin, Gloria Caldwell and Sol Marcus; discussed by Yusuf in a November 2006 interview
^ Quoted in Agence France-Presse article
^ Dean Goodman (2007-10-20). "Folk artist Yusuf Islam to sing about deportation", Reuters. Retrieved on 6 December 2007.
^ a b Williamson, Nigel (2006-11-17). "The Billboard Q&A: Yusuf Islam". Billboard.com. Retrieved on 2007-01-08.
^ "The World Awards 2003 Honoring The Best". World Connection (2003). Retrieved on 2008-07-21.
^ "World should do more", New Sunday Times (2005-11-06), p. 26.
^ Press release
^ Honorary degrees for Cat Stevens
^ Friedman, Roger, Published September 15, 2005; Accessed May 6, 2006Cat Stevens Nominated for Rock & Roll Hall of Fame
^ 2005 ASCAP Press release
^ 2006 ASCAP Press release
^ http://songhall.org/index.php/vote/
Further reading
Cat Stevens Complete Illustrated Biography & Discography by George Brown, 2006 (finalist for the award for "Best Research in Recorded Rock Music" from the Association for Recorded Sound Collections).[1]
My Journey From Cat Stevens to Yusuf Islam By Yusuf Islam (Mountain of Light, 2001 Autobiographical account published by Mountain of Light in 2001.
Cat Stevens biography by Chris Charlesworth (Proteus, 1985)
Cat Stevens/Yusuf Islam, (a German language biography) by Albert Eigner Hannibal Verlag GmbH, 2006)
Cat Stevens Breaks His Silence Rolling Stone article, 14 June 2000
Billboard Q&A with Yusuf Islam November 2006
New York Times Magazine Q&A with Yusuf Islam January 2007
Yusuf Islam: Short Bio
Web-only interview with Yusuf Islam, aka Cat Stevens The Hour, CBC, Canada, 3 January 2007.
External links
Cat Stevens at the Internet Movie Database
Yusuf Islam's official website
Small Kindness, Yusuf Islam's charity
Mountain of Light, Yusuf Islam's spiritual website
Yusuf Islam/Cat Stevens
Birth name Steven Demetre Georgiou
Also known as Steve Adams[1][2], Yusuf
Born 21 July 1948 (1948-07-21) (age 60)
Origin London, England
Genre(s)
Folk rock
Pop
Nasheed
Spoken Word
Occupation(s) Singer-songwriter, musician
Instrument(s) Vocals, guitar, bass, piano
Years active 1966–1980 (as Cat Stevens)
1995–present (as Yusuf Islam)
Label(s) Decca Records,
Island Records, A&M, Polydor, Jamal Records, Atlantic/Ya Records
Associated acts Alun Davies
Website http://www.yusufislam.org.uk
Yusuf Islam (born Steven Demetre Georgiou on 21 July 1948), best known by his former stage name Cat Stevens, is a British musician of Greek Cypriot and Swedish ancestry.
He is a singer-songwriter, multi-instrumentalist, educator, philanthropist and prominent convert to Islam.
As Cat Stevens, he sold over 60 million albums around the world since the late 1960s. His albums Tea for the Tillerman and Teaser and the Firecat were both certified as Triple Platinum by the RIAA in the United States; his album Catch Bull at Four sold half a million copies in the first two weeks of release alone, and was Billboard's number-one LP for three consecutive weeks.
His songwriting has also earned him two ASCAP songwriting awards in consecutive years, for "The First Cut Is the Deepest," which has been a hit single for four different artists, and has been instrumental for others in establishing their musical careers.
Stevens converted to Islam at the height of his fame in 1977. The following year, he adopted his Muslim name Yusuf Islam, gave all his guitars away for charity in 1979, [3] and left his music career to devote himself to educational and philanthropic causes in the Muslim community.
He has been given several awards for his work in promoting peace in the world, including 2003's World Award, the 2004 Man for Peace Award and the 2007 Mediterranean Prize for Peace. In 2006, he returned to pop music, with his first album of new pop songs in 28 years, entitled An Other Cup.
He lives with his wife and children in London, and spends part of each year in Dubai.
Contents-
1 Early life (1948–1965)
2 Musical career (1966–1970)
2.1 Early musical career
2.2 Tuberculosis
2.3 Changes in musical sound after illness
3 Musical career (1970-1978)
3.1 Height of popularity
3.2 Exploration with movie soundtracks
3.3 Later Cat Stevens recordings
4 Conversion to the Islamic faith
5 Life as Yusuf Islam (1978–present)
5.1 Muslim faith and musical career
5.2 Salman Rushdie controversy
5.3 September 11 attacks
5.4 Denial of entry into the United States
5.5 Libel cases
5.5.1 British reports regarding deportation
5.5.2 False rumour regarding veiled women
6 Return to music
6.1 An Other Cup
7 Awards
7.1 Philanthropic & humanitarian awards
7.2 Music Awards
8 Discography
9 See also
10 Notes and references
11 Further reading
12 External links
Early life (1948–1965)
Steven Georgiou was the third child of a Greek-Cypriot father, Stavros Georgiou (b. 1900)[4] and a Swedish mother, Ingrid Wickman (b. 1915).[5] He has an older sister, Anita, and brother, David.[6] The family lived above Moulin Rouge, the restaurant that his parents operated on Shaftesbury Avenue, a few steps from Piccadilly Circus in the Soho theatre district of London. Every family member worked in the restaurant.[6] His parents divorced when he was about 8 years old, but they continued to maintain the family restaurant and live above it.
Although his father was Greek Orthodox and his mother a Swedish Baptist, Georgiou was sent to a Catholic school, St. Joseph Roman Catholic Primary School in Macklin Street, which was closer to his father's business on Drury Lane.[7] Georgiou developed an interest in piano at a fairly young age, eventually using the family baby grand piano to work out the chords, since no one else there played well enough to teach him.
At age 15, he extended this interest, and after convincing his father to buy him a guitar for £8, began playing it and writing songs.[8] He would escape at times from his family responsibilities to the rooftop above their home, and listen to the tunes of the musicals drifting from just down the street.[6] With interests in both art and music, he and his mother travelled to Gävle, Sweden, where he started developing his drawing skills after being influenced by his uncle Hugo Wickham, a painter.[9]
He attended other local West End schools, where he says he was constantly in trouble, and did poorly in everything but art. He was called "the artist boy" and mentions that "I was beat up, but I was noticed." [10] He went on to take a one-year course of study at Hammersmith School of Art,[1] as he initially wanted to be a cartoonist. However, though he enjoyed art - his later record albums would feature his original artwork on the covers[10] - he wanted to establish a musical career and began to perform under the stage name "Steve Adams" in 1965 while at Hammersmith.[1][2] At that point, his goal was to become a songwriter. Among the musicians who influenced him are: Bob Dylan, Nina Simone, blues artists Leadbelly and Muddy Waters,[11] John Lennon, Biff Rose who played on his first album, Leo Kottke,[10] and Paul Simon.[12]
He also wanted to emulate composers who wrote musicals, like Ira Gershwin and Leonard Bernstein. In 1965 he signed a publishing deal with Ardmore & Beechwood and cut several demos, including "The First Cut Is the Deepest".[13] Over 30 years later, that song would earn him two consecutive ASCAP awards.
Musical career (1966–1970)
Georgiou began to perform his songs in coffee houses and pubs. At first he tried forming a band, but soon realized he preferred performing solo.[8] Thinking that his given name might not be memorable to prospective fans, he chose a stage name, Cat Stevens, in part because a girlfriend said he had eyes like a cat, but mainly because he said, "I couldn't imagine anyone going to the record store and asking for 'that Steven Demetre Georgiou album'. And in England, and I was sure in America, they loved animals."[14]
In 1966, at age 18, he impressed manager/producer Mike Hurst, formerly of British vocal group The Springfields, with his songs and Hurst arranged for him to record a demo and then helped him get a record deal. The first singles were hits. "I Love My Dog" charted at #28, and "Matthew and Son", the title song from his debut album, went to #2.[15] "I'm Gonna Get Me a Gun" reached Britain's Top 10, and the album Matthew and Son itself began charting. The original version of the Tremeloes cover hit, "Here Comes My Baby", was written and recorded by Stevens.
Over the next two years, Stevens recorded and toured with artists ranging from Jimi Hendrix to Engelbert Humperdinck. The music business hadn't yet begun targeting specific audiences, so he frequently toured with what now would be considered an unusual array of celebrities.
Stevens was considered a fresh-faced teen star, placing several single releases in the British pop music charts. Some of that success was attributed to the pirate radio station Wonderful Radio London, which gained him fans by playing his records. In August 1967, he went on the air with other recording artists who had benefited from the station to mourn its closure.
His December 1967 album New Masters failed to chart in the United Kingdom. The album is now most notable for his song "The First Cut Is the Deepest", a song he sold for £30 to P.P. Arnold that was to become a massive hit for her,[16] and an international hit for Keith Hampshire, Rod Stewart, James Morrison, and Sheryl Crow. The song also has won several songwriting awards, including two ASCAP awards back to back in 2005 and 2006.[17]
Tuberculosis
Stevens was living a fast-moving pop-star life and in early 1968 at the age of 19, he became very ill with tuberculosis and a collapsed lung.[18][10] Near death[18] at the time of his admittance to the King Edward VII Hospital, Midhurst, he spent months recuperating in hospital and a year of convalescence. During this time Stevens began to question aspects of his life, and spirituality. He later said, "To go from the show business environment and find you are in hospital, getting injections day in and day out, and people around you are dying, it certainly changes your perspective. I got down to thinking about myself. It seemed almost as if I had my eyes shut."[15]
He took up meditation, read about other religions, and became a vegetarian.[14] As part of his spiritual awakening and questioning, he wrote as many as 40 songs, which were much more introspective than his previous work. Many of those songs came to appear on his albums in years to come. [19]
Changes in musical sound after illness
The lack of success of Stevens' second album mirrored a difference of personal tastes in musical direction, and a growing resentment at producer Mike Hurst's attempts to re-create another album like that of his debut, with heavy handed orchestration, and over-production,[12] rather than the folk sound Stevens was attempting to produce. He admits having purposefully sabotaged his own contract with Hurst, making outlandishly expensive orchestral demands, and threatening legal action, which resulted in his goal: release from his contract with Deram Records' fledgling record label, Decca Records.[15] He hired agent Barry Krost, who arranged for an audition with Chris Blackwell of Island Records. Following Krost's recommendation, Stevens signed bassist Paul Samwell-Smith, previously known as a member of the Yardbirds, to be his new producer.[20]
Musical career (1970-1978)
Height of popularity
Healthy, sporting a new beard, Stevens was armed with a catalog of new songs that reflected his new perspective on what he wanted to bring to the world with his music. His previous work had sold in the United Kingdom, but Stevens was still relatively unknown by the public across the Atlantic. To rectify this, after signing with Island Records in 1970, an American distribution deal was arranged with A&M Records' Jerry Moss in North America. Stevens began work on Mona Bone Jakon, a folk-rock based album that was quite different from his earlier "pop" style records, drawing on his new, introspective work. Producer Paul Samwell-Smith paired guitarist Alun Davies with Stevens, whom he initially met as a session musician. Alun was the more experienced veteran of two albums which already had begun to explore the emerging genres of skiffle and folk rock music. Davies was also thought a perfect fit in particular for his "fingerwork" on the guitar, harmonizing and contributing backing vocals with Stevens. They originally met just to record Mona Bone Jakon,[21] but developed a fast friendship; Davies, like Stevens, was a perfectionist, appearing after all the sound checks had been completed, just to be sure that all the equipment and sound were prepared for each concert. [22] He recorded on all of the succeeding Stevens' albums with the exception of Foreigner, and continued performing and recording with him until Stevens' retirement. Years later, when Yusuf Islam re-emerged after 27 years, Davies appeared again at his side, and has remained there.
The first single released from Mona Bone Jakon was "Lady D'Arbanville", which Stevens wrote about his young American girlfriend Patti D'Arbanville. The record, with a madrigal sound unlike most music played on the pop radio, with sounds of drums and bass in addition to Stevens' and Davies' guitars, soared to #8 in the U.K. It was the first of his hits to get real airplay in the United States.[15] In addition, the song, "Pop Star", about his experience as a teen star, and "Katmandu", featuring Genesis frontman Peter Gabriel playing flute, were featured. Mona Bone Jakon was an early example of the solo singer-songwriter album format that was becoming popular for artists as well.
Mona Bone Jakon was the precursor for Stevens' international breakthrough album, Tea for the Tillerman, which became a top-10 Billboard hit and within 6 months of its release, sold over 500,000 copies, reaching gold record status in the United States and in Britain, combining Stevens' new folk style with accessible lyrics that spoke of everyday situations and problems, mixed with the beginning of spiritual imagery that would remain in his music from thereon. The album features the top-20 single "Wild World"; a parting song after D'Arbanville moved on. "Wild World" has been credited as the song that gave Tea for the Tillerman 'enough kick' to get it played on FM radio; and the head of Island Records, Chris Blackwell, was quoted as calling it "the best album we’ve ever released".[12] Other album cuts include "Hard-Headed Woman", and "Father and Son", a unique song sung both in baritone and tenor, about the struggle between fathers and their sons who are seeking their own personal choices in life. In 2001, this album was certified by the RIAA as a Multi-Platinum record, having sold 3 million copies in the United States at that time.[23] It is ranked at #206 in Rolling Stone Magazine's 2003 list of the "500 Greatest Albums of All Time". [24]
After the end of his relationship with D'Arbanville, he noted the effect it had on writing his music. Stevens said,
"Everything I wrote while I was away was in a transitional period and reflects that. Like Patti. A year ago we split; I had been with her for two years. What I write about Patti and my family... when I sing the songs now, I learn strange things. I learn the meanings of my songs late..."[25]
Stevens later was romantically linked to popular singer Carly Simon, with whom he shared producer Samwell-Smith. They had a love affair from 1971 to 1972, during which time both wrote songs for and about one another. Simon wrote and recorded at least two top 50 songs, "Legend in Your Own Time" and "Anticipation" about Stevens.[26] He reciprocated in his song to her, after their romance, entitled, "Sweet Scarlet".
Having established a signature sound, Stevens enjoyed a string of successes over the following years. 1971's Teaser and the Firecatalbum reached number two and achieved gold record status within three weeks of its release in the United States. It yielded several hits, including "Peace Train", "Morning Has Broken" (a Christian hymn with lyrics by Eleanor Farjeon), and "Moon Shadow". This album was also certified by the RIAA as a Multi-Platinum record in 2001, with over three million U.S. sales through that time. When interviewed on a Boston radio station, Stevens said about Teaser:
"I get the tune and then I just keep on singing the tune until the words come out from the tune. It's kind of a hypnotic state that you reach after a while when you keep on playing it where words just evolve from it. So you take those words and just let them go whichever way they want... 'Moonshadow'? Funny, that was in Spain, I went there alone, completely alone, to get away from a few things. And I was dancin' on the rocks there... right on the rocks where the waves were, like, blowin' and splashin'. Really, it was so fantastic. And the moon was bright, ya know, and I started dancin' and singin' and I sang that song and it stayed. It's just the kind of moment that you want to find when you're writin' songs."[27]
His next album, Catch Bull at Four, released in 1972, was his most rapidly successful album in the United States, reaching gold record status in 15 days, and holding the number-one position on the Billboard charts for three weeks. This album continued the introspective and spiritual lyrics that he was known for, combined with a rougher-edged voice and a less acoustic sound than his previous records, utilizing synthesizers and other instruments. Although the sales of the album indicated Stevens' popularity, the album did not produce any real hits, with the exception of the single "Sitting", which charted at #16. Catch Bull at Four was Platinum certified in 2001.
Exploration with movie soundtracks
In July 1970, Stevens recorded one of his songs, "But I Might Die Tonight", for the Jerzy Skolimowski film Deep End, which featured Jane Asher.[28]
In 1971, Stevens provided nine songs to the soundtrack of the film Harold and Maude. Two of the songs, "Don't Be Shy" and "If You Want to Sing Out, Sing Out", were not featured on any album until their inclusion on a second "greatest hits" collection: Footsteps in the Dark: Greatest Hits, Vol. 2, in 1984. Harold and Maude, a black comedy starring Ruth Gordon and Bud Cort, became a popular cult movie celebrating the free spirit, and brought Stevens' music to a wider audience, continuing to do so long after he stopped recording in the late 1970s. Among other songs included were "Where Do the Children Play?", "Trouble", and "I Think I See the Light".
After his religious conversion in the late 1970s, Stevens stopped granting permission for his songs to be used in films. Eventually, however, almost twenty years later, in 1997, the movie Rushmore was allowed to use his songs "Here Comes My Baby" and "The Wind", showing a new willingness on his part to release his music from his Western "pop star" days. [29] This was followed in 2002 by Cameron Crowe's use in Almost Famous of the song "The Wind".[30]
Later Cat Stevens recordings
Subsequent releases in the 1970s also did well on the charts and in ongoing sales, however they did not touch the success he had from 1970 to 1973. In 1973, Stevens moved to Rio de Janeiro, Brazil, to avoid taxation from the United Kingdom. During that time he created the album Foreigner, an album which was a departure from the music that had brought him to the height of his fame. It differed in several respects: entirely written by Stevens, he dropped his band and produced the record without the assistance of Samwell-Smith, who had played a large role in catapulting him to fame, and instead of guitar, he played keyboards throughout the album. It was intended to show the funk/soul element that he had come to appreciate. He performed the album on an uninterrupted television show on ABC titled the "Moon and Star" concert. The album produced a couple of singles including "The Hurt", but the album did not reach the heights he had once enjoyed.
His final original album under the name Cat Stevens was Back to Earth, released in late 1978, which was also the first album produced by Samwell-Smith since his peak in single album sales in the early 1970s.
Several compilation albums were released before and after he stopped recording. The most successful of these was the 1975 Greatest Hits which has sold over 4 million copies in the United States. In May 2003 he received his first Platinum Europe Award[31] from the IFPI for Remember Cat Stevens, The Ultimate Collection, indicating over one million European sales.
In 1977, Stevens secured his last chart hit with "(Remember the Days of the) Old Schoolyard", a duet billed with fellow UK singer Elkie Brooks, although she remains uncredited on the release.[32]
Another woman appears on the video that was made of the song, with Cat Stevens singing to her, as they play former schoolmates, singing to each other on a schoolyard "merry-go-round". This is one of few videos that Stevens made, other than simple videos of concert performances.
Conversion to the Islamic faith
Stevens' first real memory of Islam took place when he had left for Marrakech, Morocco, to get away, think, and write songs. He heard a voice unlike one he had ever heard before. When he asked what it was, -- the Aḏhān, a ritual call for prayer by the muezzin of a mosque, --he was told "that is music for God".
Stevens said, "I thought, music for God? I’d never heard that before – I’d heard of music for money, music for fame, music for personal power, but music for God!" [33]
In 1976 Stevens nearly drowned off the coast of Malibu, California and shouted: “Oh God! If you save me I will work for you.”
He says, right afterward, a wave appeared and carried him back to shore. This brush with mortality intensified his long-held quest for spiritual truth. He had looked into "Buddhism, Zen, and I Ching, Numerology, tarot cards and Astrology".[14] Stevens' brother David Gordon brought him a birthday gift from a recent trip to Jerusalem.[29] It was a copy of the Qu'ran. Stevens took to it right away, and began to find peace with himself and began his transition to Islam.
During the time he was studying the Qu'ran, he began to identify more and more with the name of Joseph, a man bought and sold in the market place, which is how he had increasingly felt, within the music business.[20] Regarding his conversion, in his 2006 interview with Alan Yentob,[34] he stated, "to some people, it may have seemed like an enormous jump, but for me, it was a gradual move to this." And, in a Rolling Stone Magazine interview, he reaffirmed this, saying, "I had found the spiritual home I'd been seeking for most of my life. And if you listen to my music and lyrics, like "Peace Train" and "On The Road To Find Out", it clearly shows my yearning for direction and the spiritual path I was travelling."[35] Stevens had been seeking inner peace and spiritual answers throughout his career, and now believed he had found what he had been seeking.
Stevens formally converted to the Islamic faith on December 23, 1977, becoming a Muslim. In 1978, Stevens took the name Yusuf Islam. Yusuf is the Arabic rendition of the name Joseph. He stated that he "always loved the name Joseph" and was particularly drawn to the story of Joseph in the Qur'an.[20] Although he discontinued his pop career, he was persuaded to perform one last time before his twenty-five year musical hiatus at a concert in Wembley Stadium, on November 22, 1979, with David Essex, and Alun Davies, in a charity benefit for UNICEF's International Year of the Child Concert.
In an arranged marriage with the assistance of his mother, Yusuf married Fauzia Mubarak Ali in September 1979, at Regent's Park Mosque in London. It was the 1,000th such ceremony to take place at the mosque. The couple have five children.
[edit] Life as Yusuf Islam (1978–present)
[edit] Muslim faith and musical career
Following his conversion, Yusuf Islam abandoned his career as a pop star. The use of musical instruments other than the voice and the drum is an area of debate in Muslim jurisprudence, considered harām by some, and this is the primary reason he gave for retreating from the pop spotlight. In his first performance on the television show, Later... with Jools Holland, 27 years after leaving the "pop" music business, and in other interviews, he gave other reasons for leaving the pop stage. "A lot of people would have loved me to keep singing," Islam said. "You come to a point where you have sung, more or less ... your whole repertoire and you want to get down to the job of living. You know, up until that point, I hadn't had a life. I'd been searching, been on the road." [7]
Estimating in January 2007 that he continues to earn approximately $1.5 million USD a year from his Cat Stevens music,[36] he decided to use his accumulated wealth and continuing earnings from his music career on philanthropic and educational causes in the Muslim community of London and elsewhere. In 1981, he founded the Islamia Primary School in Salusbury Road in the north London area of Kilburn and soon after, founded several Muslim secondary schools and devoted his energy to providing an Islamic education to children and to donate the rest to charitable causes. He established, and is the founder and chairman of the Small Kindness charity, which initially assisted famine victims in Africa and now supports thousands of orphans and families in the Balkans, Indonesia, and Iraq.[37] He served as chairman of the charity Muslim Aid from 1985 to 1993.[38]
In 1985, Yusuf Islam decided to return to the public spotlight for the first time since his religious conversion, at the historic Live Aid concert, concerned with the famine threatening Ethiopia. Though he had written a song especially for the occasion, his appearance was skipped when Elton John's set ran too long.[39]
Salman Rushdie controversy
Main article: Cat Stevens' comments about Salman Rushdie
The singer attracted controversy in 1989, during an address to students at London's Kingston University, where he was asked about the fatwa calling for the death of author Salman Rushdie. Newspapers quickly interpreted his response as support for the fatwa, but he released a statement the following day which said that he had not been supporting vigilantism, and was merely explaining the legal Islamic punishment for blasphemy. In a BBC interview he displayed a newspaper clipping from that time period, which quotes from his statement. Subsequent comments made by him in 1989 were also seen as being in support of the fatwa.
While there has been an ongoing debate over the degree to which the singer supported the call for the assassination of Rushdie, the incidents left an indelible mark on his reputation as a "man of peace".[40] He maintains that he was misinterpreted.[41][19]
September 11 attacks
Immediately following the 11 September 2001, attacks on the United States, he said:
I wish to express my heartfelt horror at the indiscriminate terrorist attacks committed against innocent people of the United States yesterday. While it is still not clear who carried out the attack, it must be stated that no right-thinking follower of Islam could possibly condone such an action. The Qur'an equates the murder of one innocent person with the murder of the whole of humanity. We pray for the families of all those who lost their lives in this unthinkable act of violence as well as all those injured; I hope to reflect the feelings of all Muslims and people around the world whose sympathies go out to the victims of this sorrowful moment.[42]
He appeared on videotape on a VH-1 pre-show for the October 2001 Concert for New York City, condemning the attacks and singing his song "Peace Train" for the first time in public in more than 20 years, an a cappella version. He also donated half of his box-set royalties to the September 11 Fund for victims' families, and the other half to orphans in underdeveloped countries.[43]
Denial of entry into the United States
On 21 September 2004, Yusuf Islam was travelling on a United Airlines flight from London to Washington, en route to a meeting with singer Dolly Parton, who had recorded "Peace Train" several years earlier and was planning to include another Cat Stevens song on an upcoming album.[34] While the plane was in flight, the Computer Assisted Passenger Prescreening System flagged his name as being on a no fly list. Customs agents alerted the United States Transportation Security Administration, which then diverted his flight to Bangor, Maine, where he was detained by agents from Department of Homeland Security.[44]
The following day, Yusuf Islam was deported back to the United Kingdom. The Transportation Security Administration claimed there were "concerns of ties he may have to potential terrorist-related activities."[45] The Israeli government had deported Yusuf Islam in 2000 over allegations that he provided funding to the Palestinian organization Hamas[46]; he denied doing so knowingly.[47] "I have never knowingly supported or given money to Hamas," says Islam, who repeatedly has condemned terrorism and Islamic extremism. "At the time I was reported to have done it, I didn't know such a group existed. Some people give a political interpretation to charity. We were horrified at how people were suffering in the Holy Land."[47] However,the United States Department of Homeland Security added him to their FBI- watch list. [1] The U.S. deportation provoked a small international controversy, and led British Foreign Secretary Jack Straw to complain personally to U.S. Secretary of State Colin Powell at the United Nations.[48] Powell responded by stating that the watch list was under review, and added, "I think we have that obligation to review these matters to see if we are right."[49]
Yusuf Islam believed his inclusion on the watch list may have simply been an error, a mistaken identification of him for a man with the same name, but different spelling. On 1 October 2004 Yusuf Islam requested the removal of his name, "I remain bewildered by the decision of the US authorities to refuse me entry to the United States."[50] According to a statement by Yusuf Islam, the man on the list was named "Youssef Islam", indicating that Yusuf Islam himself was not the suspected terrorism supporter.[7]
Two years later, in December 2006, Yusuf Islam was admitted without incident into the United States for several radio concert performances and interviews to promote his new record.[51] Islam said of the incident at the time, that, "No reason was ever given, but being asked to repeat the spelling of my name again and again, made me think it was a fairly simple mistake of identity. Rumors which circulated after made me imagine otherwise."[52]
Islam has written a song about the 2004 deportation experience, titled "Boots and Sand", recorded in the summer of 2008, featuring Paul McCartney, Alison Krauss, Dolly Parton, and Terry Sylvester.[53]
Libel cases
British reports regarding deportation
In October 2004 the British newspapers The Sun and The Sunday Times voiced their support for Yusuf Islam's deportation by the U.S. government, claiming that he had supported terrorism. Islam successfully sued for libel and received a substantial out-of-court financial settlement and apologies from the newspapers stating that he had never supported terrorism and acknowledging that he had recently been given a Man of Peace award from the private Nobel Peace Prize Laureates Committee. However The Sunday Times managing editor Richard Caseby said that while there was an "agreed settlement", they "always denied liability" and "disagreed with Cat Stevens' lawyers interpretation", but took a "pragmatic view" of the lawsuit.[54]
Yusuf Islam responded that he was "...delighted by the settlement [which] helps vindicate my character and good name.... It seems to be the easiest thing in the world these days to make scurrilous accusations against Muslims, and in my case it directly impacts on my relief work and damages my reputation as an artist. The harm done is often difficult to repair", and added that he intended to donate the financial award given to him by the court to help orphans of the tsunami in the Indian Ocean.[54]
Yusuf Islam wrote about the experience in a newspaper article titled "A Cat in a Wild World".[55]
False rumour regarding veiled women
On 18 July 2008, Yusuf Islam received substantial undisclosed damages from the World Entertainment News Network following their distribution of the false rumour that the singer did not speak to unveiled women.[56] The allegations first surfaced in German newspaper B.Z. after Yusuf's trip to Berlin in March 2007 to collect the ECHO award for "life achievements as musician and ambassador between cultures".[57] Once again he was awarded damages after the World Entertainment News Network allowed an article to be published on Contactmusic.com, a "website said to have 2.2 million page views a month",[56] alleging that Islam would not speak to unveiled women with the exception of his wife. His solicitor was reported as having said that "he was made out to be 'so sexist and bigoted that he refused at an awards ceremony to speak to or even acknowledge any women who were not wearing a veil,'".[56][58] The offending news agency apologized, admitting that Islam has never had any problem in working with women and, contrary to the article in question, never has needed a third party as an intermediary to function at work.[57] The money from this lawsuit will go to Islam's Small Kindness Charity.[56]
Yusuf Islam himself discusses this topic on his website, saying, "It’s true that I have asked my manager to respectfully request lady presenters from embracing me when giving awards or during public appearances, but that has nothing to do with my feelings or respect for them. Islam simply requires me to honour the dignity of ladies or young girls who are not closely related to me, and avoid physical intimacy, however innocent it may be." He adds, "My four daughters all follow the basic wearing of clothes which modestly cover their God-given beauty. They’re extremely well educated; they do not cover their faces and interact perfectly well with friends and society.."[59]
[edit] Return to music
By the early 1990s, for several years, Yusuf Islam only made recordings featuring lyrics about Islamic themes accompanied solely by drums and percussive instruments, which he felt were acceptable to his faith. In the late 1990s, he was featured as a guest singer on "God Is the Light", a song on an album of nasheeds by the group Raihan. In addition, he invited and collaborated with other Muslim singers, including Canadian artist Dawud Wharnsby Ali, in his private Mountain of Light Studio.
After realizing there were few materials designed to educate children about the Islamic religion, Yusuf wrote and produced a children's album in 2000; A Is for Allah,[60] with the assistance of Zain Bhikha from South Africa, featuring the title song Islam had written to introduce his first child to both Islam and the Arabic alphabet, "A is for Allah", when she was a baby. He also established his own record label, "Jamal Records", and Mountain of Light Productions, which donates a percentage of its proceeds to his Small Kindness charity. The phrase, "Small Kindness" comes directly from the Qu'ran, where charity is compulsory, called Zakāh and is one of the Five Pillars of Islam.[61]
On the occasion of the 2000 re-release of his Cat Stevens albums, Yusuf explained that he had stopped performing in English due to his misunderstanding of the Islamic faith. "This issue of music in Islam is not as cut-and-dried as I was led to believe ... I relied on heresy (sic),[62] that was perhaps my mistake."[60]
He also spoke about feeling that when he left the Western pop music business, that perhaps the cut between his former life and his life as a Muslim might have been too quick, too severe, and that more people might have been better informed about Islam, and given an opportunity to understand it, and himself, better if he had simply removed those items that were considered harām, in his performances, allowing him to express himself musically and educate listeners through his music without violating any religious constraints.[63]
In 2003, after repeated encouragement from within some sectors of the Muslim world, Yusuf Islam once again recorded "Peace Train" for a compilation CD, which also included performances by David Bowie and Sir Paul McCartney. He performed "Wild World" in Nelson Mandela's 46664 concert with his former session player Peter Gabriel, the first time he had publicly performed in English in 25 years. In December 2004, he and Ronan Keating released a new version of "Father and Son", that debuted at number two, behind Band Aid 20's "Do They Know It's Christmas?". Additionally, they produced a video of the pair walking between photographs of fathers and sons, while singing the song. The proceeds of "Father and Son" were donated to the Band Aid charity. Keating's former group, Boyzone, had a hit with the song a decade earlier. As he had been persuaded before, Islam contributed to the song, because the proceeds were marked for charity. However, this marked a point in his artistic career where he now entertained the concept of using more than simply voice and drums.
On 21 April 2005 Yusuf Islam gave a short talk before a scheduled musical performance in Abu Dhabi, United Arab Emirates, on the anniversary of the Prophet Muhammad's birthday. He said, "There is a great deal of ignorance in the world about Islam today, and we hope to communicate with the help of something more refined than lectures and talks. Our recordings are particularly appealing to the young, having used songs as well as Holy Qu'ran verses with pleasing sound effects..."[64] Islam explained that while there had been no real guidelines about instruments in the Qu'ran, and no reference about the business of music, he stated that it had been Muslim travellers who first brought the guitar to Moorish Spain. He noted that the Prophet Muhammad was fond of celebrations, as in the case of the birth of a child, or a traveller arriving after a long journey. Thus, Islam concluded, that he felt that healthy entertainment was acceptable within limitations, and that he now felt that it was no sin to perform with the guitar. Music, he now felt, is uplifting to the soul; something sorely needed in these troubled times. [65] At that point, he was joined by several young male singers who sang backing vocals and played drum, with Islam as lead singer and guitarist. They performed two songs, "Tala'a Al-Badru Alayna", an old song in Arabic which Yusuf Islam has recorded with a folk sound to it; half of the song is in Arabic, while the other half is in English, and "The Wind East and West", a new song with a distinct R&B sound.
With that performance, he began slowly to integrate instruments into both older material from his Cat Stevens era, (some with slight lyrical changes), and new songs, both those known to the Muslim communities around the world, and some that have the same Western flair from before with a focus on new topics and another generation of listeners.[63] In a 2005 press release, he explains his revived recording career:
After I embraced Islam, many people told me to carry on composing and recording, but at the time I was hesitant, for fear that it might be for the wrong reasons. I felt unsure what the right course of action was. I guess it is only now, after all these years, that I've come to fully understand and appreciate what everyone has been asking of me. It's as if I've come full circle; however, I have gathered a lot of knowledge on the subject in the meantime. [66]
—[67]
In early 2005, Yusuf Islam released a new song entitled "Indian Ocean" about the 2004 tsunami disaster. The song featured Indian composer/producer A. R. Rahman, A-ha keyboard player Magne Furuholmen and Travis drummer Neil Primrose. Proceeds of the single went to help orphans in Banda Aceh, one of the areas worst affected by the tsunami, through Islam's Small Kindness charity. At first, the single was released only through several online music stores but later highlighted the compilation album Cat Stevens: Gold.
On 28 May 2005, Yusuf Islam delivered a keynote speech and performed at the Adopt-A-Minefield Gala in Düsseldorf. The Adopt-A-Minefield charity, under the patronage of Sir Paul McCartney, works internationally to raise awareness and funds to clear landmines and rehabilitate landmine survivors. Yusuf Islam attended as part of an honorary committee which also included Sir George Martin, Sir Richard Branson, Dr. Boutros Boutros-Ghali, Klaus Voormann, Christopher Lee and others.[68]
In mid-2005, Yusuf Islam played guitar for the Dolly Parton album, Those Were the Days, on her version of his "Where Do the Children Play". (Parton had also covered "Peace Train" a few years earlier.)
In May 2006, in anticipation of his forthcoming new pop album, the BBC1 programme "Imagine" aired a 49-minute documentary with Alan Yentob called Yusuf: The Artist formerly Known as Cat Stevens. This documentary film features rare audio and video clips from the late 1960s and 1970s, as well as an extensive interview with Yusuf Islam, his brother David Gordon, several record executives, Bob Geldof, Dolly Parton, and others outlining his career as Cat Stevens, his conversion and emergence as Yusuf Islam, and his return to music in 2006. There are clips of him singing in the studio when he was recording An Other Cup as well as a few 2006 excerpts of him on guitar singing a few verses of Cat Stevens songs including "The Wind" and "On the Road to Find Out". Yusuf has credited his then 21 year old son Muhammad Islam, also a musician and artist, for his return to secular music, when the son brought a guitar back into the house, which Yusuf began playing. [19] Muhammad's professional name is believed to be "Yoriyos"[69] and his debut album was released in February 2007.[70] Yoriyos created the art on Yusuf's album An Other Cup, something that Cat Stevens did for his albums in the 1970s.
Starting in 2006, the Cat Stevens song "Tea for The Tillerman" was used as the theme tune for the Ricky Gervais BBC-HBO sitcom Extras. A Christmas-season television commercial for gift-giving by the diamond industry aired in 2006 with Cat Power's cover of "How Can I Tell You". That song was also covered by John Frusciante of the Red Hot Chili Peppers on a solo album.
In December 2006, Yusuf was one of the artists that performed at the Nobel Peace Prize Concert in Oslo, Norway, in honour of the prize winners, Muhammad Yunus and Grameen Bank. He performed the songs "Midday (Avoid City After Dark)," "Peace Train," and "Heaven/Where True Love Goes." Yusuf also gave a concert in New York City that month as a "Jazz at Lincoln Center" event, recorded and broadcast by KCRW-FM radio, along with an interview by Nic Harcourt. Accompanying Yusuf, as he had in the Cat Stevens days, was Alun Davies, on guitar and vocals.
In April 2007, BBC1 broadcast a concert given at the Porchester Hall by Yusuf as part of BBC Sessions, his first live performance in London in 28 years (the previous one being the UNICEF "Year of the Child" concert in 1979). He played several new songs along with some "Father & Son", "The Wind", "Where Do the Children Play?", "Don't Be Shy", "Wild World", and "Peace Train".
In July 2007, Yusuf performed at a concert in Bochum, Germany, in benefit of Archbishop Desmond Tutu's Peace Centre in South Africa and the Milagro Foundation of Deborah and Carlos Santana. The audience included Nobel Laureates Mikhail Gorbachev, Desmond Tutu and other prominent global figures. He later appeared as the finale act in the German leg of Live Earth in Hamburg performing some classic Cat Stevens songs and more recent compositions reflecting his concern for peace and child welfare. His set included Stevie Wonder's "Saturn", "Peace Train", "Where Do the Children Play?", "Ruins", and "Wild World".
Yusuf performed at the Peace One Day concert at the Royal Albert Hall on 21 September 2007.[71] In 2008 Yusuf Islam contributed the song "Edge of Existence" to the Survival International charity album Songs for Survival.
[edit] An Other Cup
Main article: An Other Cup
In March 2006, Yusuf Islam finished recording his first all-new pop album since 1978.[72] The album, An Other Cup, was released internationally in November 2006 on his own label, Ya Records (distributed by Polydor Records in the UK and internationally by Atlantic Records) — the 40th anniversary of his first album, Matthew and Son. A single was simultaneously released from the album, called "Heaven/Where True Love Goes". The album was produced with Rick Nowels, who has worked with Dido and Rod Stewart. The performer is noted as "Yusuf", with a cover label identifying him as "the artist formerly known as Cat Stevens". The art on the album is credited to Yoriyos. Yusuf Islam wrote all of the songs except "Don't Let Me Be Misunderstood",[73] and recorded it in the United States and the United Kingdom.[72]
Yusuf actively promoted this album, appearing on radio, television and in print interviews. In November, 2006, he told the BBC, "It's me, so it's going to sound like that of course ... This is the real thing... . When my son brought the guitar back into the house, you know, that was the turning point. It opened a flood of, of new ideas and music which I think a lot of people would connect with."[74] Originally, Yusuf began to return only to his acoustic guitar as he had in the past, but his son encouraged him to "experiment", which resulted in the purchase of a Stevie Ray Vaughn Fender Telecaster[75] in 2007.
Again, in November 2006 Billboard magazine was curious as to why [76] the artist is credited as just his first name, "Yusuf" rather than "Yusuf Islam". His response was "Because 'Islam' doesn't have to be sloganized. The second name is like the official tag, but you call a friend by their first name. It's more intimate, and to me that's the message of this record." As for why the album sleeve says "the artist formerly known as Cat Stevens", he responded, "That's the tag with which most people are familiar; for recognition purposes I'm not averse to that. For a lot of people, it reminds them of something they want to hold on to. That name is part of my history and a lot of the things I dreamt about as Cat Stevens have come true as Yusuf Islam."[76]
Yusuf was asked by the Swiss periodical Das Magazin why the title of the album was An Other Cup, rather than "Another Cup". The answer was that his breakthrough album, Tea for the Tillerman in 1970, was decorated with Yusuf's painting of a peasant sitting down to a cup of
steaming drink on the land. Yusuf commented that the two worlds... then, and now, are very different. His new album shows a steaming cup alone on this cover. His answer was that this was actually an other cup; something different; a bridge between the East and West, which Yusuf explained was his own perceived role. He added that, through him, Westerners might get a glimpse of the East, and Easterners, some understanding of the West. The cup, too, is important; it's a meeting place, a thing meant to be shared.[67]
On CBS Sunday Morning in December 2006, Yusuf said, "You know, the cup is there to be filled ... with whatever you want to fill it with. For those people looking for Cat Stevens, they'll probably find him in this record. If you want to find Yusuf, go a bit deeper, you'll find him."[19]
[edit] Awards
[edit] Philanthropic & humanitarian awards
2003 World Award also known as the "World Social Award" for "humanitarian relief work helping children and victims of war". [77]
2004 Man for Peace Award presented by Mikhail Gorbachev for his "dedication to promote peace, the reconciliation of people and to condemn terrorism", the ceremony was held in Rome, Italy and attended by five Nobel Peace Prize laureates.
(2005) Honorary Doctorate by the University of Gloucestershire for services to education and humanitarian relief.[78]
(2007), Yusuf Islam was awarded the Mediterranean Prize for Peace in Naples, Italy. He received the award "as a result of the work he has done to increase peace in the world".[79]
On 10 July 2007, Honorary doctorate (LLD) by the University of Exeter, in recognition of "his humanitarian work and improving understanding between Islamic and Western cultures".[80] The ceremony was attended by esteemed personalities including Professor Ekmeleddin Ihsanoglu and guitarist Brian May.
Music Awards
2005 Nomination for induction into the Rock and Roll Hall of Fame [81]
On 20 October 2005, ASCAP Named Songwriter of the Year and Song of the Year for "The First Cut Is the Deepest" [82]
On 11 October 2006, Awarded Songwriter of the Year for the second year running, for the same song "The First Cut Is the Deepest".[83]
On 25 March 2007, he received the German ECHO "special award for life achievements as musician and ambassador between cultures", Europe's Grammy, in Berlin[57]
2008 Nomination for induction into the Songwriters Hall of Fame [84]
^ a b c d "Yusuf's return to musical roots". BBC (2004=09-22). Retrieved on 2008-07-19.
^ a b Ruhlmann, William. "Cat Stevens Biography on Yahoo Music". All Music Guide. Retrieved on 2008-11-26.
^ CBS (August 12, 2007). "Yusuf Islam Reflects On His Return" 3. CBS News. Retrieved on 2008-11-29.
^ "Yusuf Islam Lifeline:1900". Yusuf Islam official website. Retrieved on 2008-09-26.
^ "Yusuf Islam Lifeline:1915". Yusuf Islam official website. Retrieved on 2008-09-26.
^ a b c "Yusuf Islam Lifeline:1948". Yusuf Islam official website. Retrieved on 2008-09-23.
^ a b c "Interview With Yusuf Islam, Formerly Cat Stevens, Larry King Live", CNN (2004-10-07). Retrieved on 7 January 2007.
^ a b "Yusuf Islam Lifeline:1963". Yusuf Islam official website. Retrieved on 2008-09-23.
^ "From kitten to cat". Fabulous 208. Retrieved on 2008-11-26.
^ a b c d Windeler, Robert (October 1972). "Cat Stevens" (in English), Volume 29, #4, Stereo Review, p. 76. Retrieved on 17 October 2008.
^ Islam, Yusuf (2008). "Yusuf Islam Lifeline 1964" 1964. Official Website. Retrieved on 2008-11-08.
^ a b c Scoppa, Bud (May 24, 1971). "Easy Does It", Rock Magazine. Retrieved on 25 October 2008.
^ "Yusuf Islam Lifeline:1965". Yusuf Islam official website. Retrieved on 2008-09-26.
^ a b c Reiter, Amy (1999-08-14). "Salon People: Cat Stevens"". Salon. Retrieved on 2008-10-24.
^ a b c d "Yusuf Islam: Biography". Yusuf Islam official website. Retrieved on 2008-09-23.
^ Marrin, Minette (2004-09-26). "Profile: Yusuf Islam aka Cat Stevens: Not so much a zealot more a lost musician", The Sunday Times. Retrieved on 22 July 2008.
^ "Songwriter of the Year, Yusuf Islam (formerly Cat Stevens), First Cut Is The Deepest". ASCAP. Retrieved on 2008-10-24.
^ a b O'Driscoll, Michelle (1972-07-29). "Tea With The Tillerman", Disc Magazine. Retrieved on 24 October 2008.
^ a b c d Phillips, Mark (2006-12-03). "Yusuf Islam Reflects On His Return; Artist Once Known As Cat Stevens Talks About New Album", CBS Sunday Morning. Retrieved on 12 August 2007.
^ a b c Forbes, Jim (host). (2000). Cat Stevens: Behind the Music [TV-Series]. United States: VH1.
^ "Cat’s Man", Disc and Music Echo (1972-02-05). Retrieved on 24 October 2008.
^ "Alun Davies' Main Page". Retrieved on 2008-10-24.
^ "RIAA Platinum Ranking".
^ "500 Greatest Albums of All Time", Rolling Stone (2003-11-03). Retrieved on 24 October 2008.
^ Fong-Torres, Ben (1971-04-01). "Cat Stevens Out of the Bag", Rolling Stone. Retrieved on 14 August 2008.
^ NPR interview, July 28, 2005 on Morning Edition.
^ Crouse, Timothy (1971-12-09). "Cat Stevens on Teaser and the Firecat", Rolling Stone Magazine. Retrieved on 24 October 2008.
^ "Yusuf Islam Lifeline:1970". Yusuf Islam official website. Retrieved on 2008-09-26.
^ a b Durrani, Anayat (October 2000). "VH1 Profiles Cat Stevens in "Behind the Music"" (in English). Islamfortoday.com. Retrieved on 2008-11-02.
^ Olsen, Mark Movie Soundtrack for Almost Famous
^ May 2003 - Platinum Europe Awards, IFPI
^ Songfacts
^ Garner, Lesley (April, 19, 2002). "Playing God’s Music" (in English), Evening Standard , pp. Life Articles. Retrieved on 12 October 2008.
^ a b Yusuf Islam: The Artist Formerly Known as Cat Stevens. BBC. Interview with Alan Yentob, May 2006.
^ Dansby, Andrew (June 21, 2000). "Cat Stevens Breaks His Silence". Rolling Stone Magazine. Retrieved on 2008-11-06.
^ "Questions for Yusuf Islam: Singing a New Song" Interview with Deborah Solomon, The New York Times Magazine, 7 January 2007
^ "Word from Our Chairman Yusuf Islam". Small Kindness. Retrieved on 2006-05-06.
^ Official Website, Mountain of Light
^ Kelly, Jane (1998-03-24). "Worlds Apart: People thought I was mad when I stopped being Cat Stevens the rock star — but I've never been happier", Daily Mail. Retrieved on 6 May 2006.
^ Bio Shows Cat Stevens As a Man of Peace
^ "Cat Stevens Breaks His Silence", interview by Andrew Dansby, June 14, 2000
^ Andrew Dansby (2001-09-17). "Cat Stevens Condemns Attack", Rolling Stone. Retrieved on 6 June 2008.
^ Music Legend Gives Huge Donation to Flood Relief Fund
^ Sara Kehaulani Goo (2004-09-22). "Cat Stevens held after D.C. flight diverted", The Washington Post. Retrieved on 6 December 2007.
^ Sara Kehaulani Goo (2004-09-23). "Cat Stevens leaves U.S. after entry denied", The Washington Post. Retrieved on 6 December 2007.
^ Dansby, Andrew (July 13, 2000). "Israel Rejects the Former Cat Stevens", Rolling Stone Magazine. Retrieved on 12 October 2008.
^ a b Edna Gundersen (2006-12-16). "'Cat Stevens' returns to music", USA Today. Retrieved on 29 August 2008.
^ "Cat Stevens "shock" at US refusal", BBC (2004-09-23). Retrieved on 6 December 2007.
^ "Powell orders review", Sky News (2004-09-30). Retrieved on 6 December 2007.
^ "Yusuf Islam wants name off 'no-fly' list", Associated Press (2004-10-02). Retrieved on 6 December 2007.
^ Jon Pareles (2006-12-20). "Yusuf Islam Steps Back Into Cat Stevens's Old Sound". Retrieved on 6 December 2007.
^ "Chinese Whiskers: Why was he turned away from USA?". Yusuf Islam official website. Retrieved on 2008-11-26.
^ "Yusuf Islam Lifeline:August 2008". Yusuf Islam official website. Retrieved on 2008-09-23.
^ a b "Singer Islam gets libel damages", BBC (2005-02-15). Retrieved on 6 May 2006.
^ Islam, Yusuf (2004-10-01). "A cat in a wild world", The Guardian. Retrieved on 6 May 2006.
^ a b c d "Yusuf Islam wins damages for "veiled women" slur", Reuters (2008-07-18). Retrieved on 7 October 2008.
^ a b c Marc Marot (2007-04-02). "Yusuf Islam's Manager Refutes 'Veil' Allegations", PR Inside. Retrieved on 7 October 2008.
^ "Cat Stevens accepts libel damages", BBC (2008-07-18). Retrieved on 7 October 2008.
^ "He Won't Talk to Unveiled Women, Right?". FAQ. YusufIslam.com. Retrieved on 2008-10-07.
^ a b Nolen, Stephanie (2000-05-22). "The Cat's Comeback", The Globe and Mail, p. R1. Retrieved on 12 January 2007.
^ Qu'ran, Surah 107 Al-Ma’oon (The small kindness)
^ Note that some online sources render this word as "hearsay" but the official copy from The Globe and Mail online archives says "heresy".
^ a b Islam, Yusuf. "NEW Yusuf ISlam Interview And A Is For Allah Peace Train Cat STevens". Video of Interview 1-6. Turn to Islam. Retrieved on 2008-07-30.
^ New Recordings by Yusuf Islam
^ Islam, Yusuf (May 22, 2005). "Yusuf Islam in Abu Dhabi". Emirates TV. Retrieved on 2008-07-31.
^ Mountain of Light (2005-01-24). "Yusuf Islam sings for tsunami victims and told to make more music and spread peace". Press release. Retrieved on 6 May 2006.
^ a b Mingels, Guido (12 December 2006). ""To Be, You Must Give up What You Are" - Interview with Yusuf Islam". ARABIA.pl. Retrieved on 2008-07-21.
^ Yusuf Islam Official website
^ "Cat Stevens' Son Makes Music Debut"
^ Official website for Yoriyos.
^ All-star line up for Peace One Day
^ a b Newman, Melinda (2006-03-17). "A cat in a wild world", Billboard.com. Retrieved on 9 June 2006.
^ written by Bennie Benjamin, Gloria Caldwell and Sol Marcus; discussed by Yusuf in a November 2006 interview
^ Quoted in Agence France-Presse article
^ Dean Goodman (2007-10-20). "Folk artist Yusuf Islam to sing about deportation", Reuters. Retrieved on 6 December 2007.
^ a b Williamson, Nigel (2006-11-17). "The Billboard Q&A: Yusuf Islam". Billboard.com. Retrieved on 2007-01-08.
^ "The World Awards 2003 Honoring The Best". World Connection (2003). Retrieved on 2008-07-21.
^ "World should do more", New Sunday Times (2005-11-06), p. 26.
^ Press release
^ Honorary degrees for Cat Stevens
^ Friedman, Roger, Published September 15, 2005; Accessed May 6, 2006Cat Stevens Nominated for Rock & Roll Hall of Fame
^ 2005 ASCAP Press release
^ 2006 ASCAP Press release
^ http://songhall.org/index.php/vote/
Further reading
Cat Stevens Complete Illustrated Biography & Discography by George Brown, 2006 (finalist for the award for "Best Research in Recorded Rock Music" from the Association for Recorded Sound Collections).[1]
My Journey From Cat Stevens to Yusuf Islam By Yusuf Islam (Mountain of Light, 2001 Autobiographical account published by Mountain of Light in 2001.
Cat Stevens biography by Chris Charlesworth (Proteus, 1985)
Cat Stevens/Yusuf Islam, (a German language biography) by Albert Eigner Hannibal Verlag GmbH, 2006)
Cat Stevens Breaks His Silence Rolling Stone article, 14 June 2000
Billboard Q&A with Yusuf Islam November 2006
New York Times Magazine Q&A with Yusuf Islam January 2007
Yusuf Islam: Short Bio
Web-only interview with Yusuf Islam, aka Cat Stevens The Hour, CBC, Canada, 3 January 2007.
External links
Cat Stevens at the Internet Movie Database
Yusuf Islam's official website
Small Kindness, Yusuf Islam's charity
Mountain of Light, Yusuf Islam's spiritual website
http://www.imotorhead.com/
Mikkey Dee
Mikkey Dee
Background information
Birth name Michael Kiriakos Delaouglou
Born 31 October 1963 (1963-10-31) (age 45)
Gothenburg, Sweden
Genre(s) Heavy metal, Speed metal
Occupation(s) Musician
Instrument(s) drums, Acoustic guitar (live only)
Years active 1985 - present
Associated acts Motörhead
King Diamond
WWIII
Website www.IMotörhead.com
Michael Kiriakos Delaouglou, better known as Mikkey Dee (born 31 October 1963 in Gothenburg, Sweden,[1]) is a half-Greek half-Swedish drummer/songwriter in the heavy metal band, Motörhead. He has been known for his speed and precision since his mid-80s stint with King Diamond.
Contents
1 Career
1.1 Early Life
1.2 King Diamond (1985-1989)
1.3 Don Dokken (1990)
1.4 Motörhead (1992-Present)
2 Discography
2.1 King Diamond
2.2 Don Dokken
2.3 Motörhead
2.4 Helloween
2.5 Other
3 References
4 External links
Career
Life
Delaouglou began his musical career with local bands Nadir and Geisha. His favourite drummer is Ian Paice, other influences being Brian Downey, Neil Peart and Steven Smith. Dee also gives credit to Buddy Rich.[2]
Dee has endorsed German drum manufacturer SONOR for well over 20 years, starting with King Diamond. He is also a long-time endorser of Paiste cymbals, Vic Firth sticks and DW/Drum workshop bass drum pedals.
King Diamond (1985-1989)
Having moved to Copenhagen to play with Geisha,[2] in 1985, he joined King Diamond, who were looking for additional members to complete their line-up. After their release of the "Conspiracy" album (1989), Dee decided to leave the band, as he felt he was becoming more of a back-up musician, rather than an equal contributing songwriter — Diamond himself was becoming quite popular and the musicians backing him were taking a secondary role in the writing and decision making, often Diamond was the only person answering for the whole group in magazine interviews, etc.[2] Dee continued to play as a session drummer for the recording sessions of the Conspiracy album (1989), after which he was replaced by Snowy Shaw.
Don Dokken (1990)
He joined Don Dokken for his solo album, Up From The Ashes (1990) the music videos for the songs "Stay" and "Mirror Mirror" received airplay on MTV's Headbanger's Ball. whilst also playing for World War Three (WWIII).
Motörhead (1992-Present)
Mikkey Dee during a drum soloLemmy had been repeatedly asking him to join Motörhead since 1985, and in 1992, when asked once again, Dee accepted the offer, replacing Phil "Philthy Animal" Taylor.[3] Commenting on his replacement of a longstanding member of the band, Dee said in a 2006 interview:
Phil Taylor was great when he was good... so I could never have filled that space. It's like when you get married and have kids, no one can take my father's place. Of course, some other guy could have taken his place, but he wouldn't have been my father; so I could never be Phil Taylor, so I had to introduce Mikkey Dee into Motörhead.[4]
Dee's first gig with the band was on 30 August 1992 at Saratoga Performing Arts Center,[5] but he did not have much input on that year's release, March or Die, as this had been recorded with Tommy Aldridge prior to Dee joining the group. Dee did play on the tracks 'Hellraiser', which was on the album, and 'Hell On Earth', which wasn't on the album, but was on the soundtrack album to the film Hellraiser III: Hell on Earth. Ideally the band would have had Dee re-record all the drum tracks but this was not possible, due to a combination of money and time factors.
It is important to note that even though Aldridge was a member of the band, Dee's photo appeared on the rear album sleeve. Aldridge generously said that Dee could take his credit for the playing but Dee politely declined, as the drummers' styles are very different. In an ironic reversal, Aldridge had earlier had his photo on an album on which he played nothing, namely Ozzy Osbourne's Diary of a Madman.
Mikkey Dee live with MotörheadTheir record label, Epic Records dropped the band after its release and the group continued recording with SPV GmbH. The band also started a label themselves, called "Motörhead", which was copyrighted and distributed through Warner-Chappell and ZYX, Dee's first album for this label being 1993's Bastards.
He also played drums on Helloween's 2003 album Rabbit Don't Come Easy, stepping in for Mark Cross.
In April 2006 King Diamond reunited with old friend Mikkey Dee at a sold-out gig at Kåren in Gothenburg, Sweden.[6] In 2001 King referred to Dee as "one of the best [drummers] of all time and that's something that has bothered us since he left."[7]
Dee also played the drums for Martin "E-Type" Eriksson in the Swedish pre-qualification to the Eurovision song contest 2004, as well as on E-Type's 2003 Eurometal tour.
He is famous for his long drum solos during concerts, often lasting between five and fifteen minutes and filling between songs. On the Motorizer tour he performed several long solos, in which the other members left the stage and re-joined at the end for another song.
Dee is a hockey enthusiast and a supporter of the Frölunda HC team from Gothenburg. The rumor that Dee was in a Swedish National Youth Hockey team (stemming from an interview on Motorhead's stagefright DVD) has since been rebutted by Dee himself, claiming that "in the end of the 80's and a bit into the 90's I played for a team called Team Sweden in southern California" causing the rumor to arise.[8]
Discography
[edit] King Diamond
Fatal Portrait (1986)
Abigail (1987)
Them (1988)
Conspiracy (1989)
[edit] Don Dokken
Up From The Ashes (1990)
[edit] Motörhead
March ör Die (1992)
Bastards (1993)
Sacrifice (1995)
Overnight Sensation (1996)
Snake Bite Love (1998)
We Are Motörhead (2000)
Hammered (2002)
Inferno (2004)
Kiss of Death (2006)
Motorizer (2008)
[edit] Helloween
Rabbit Don't Come Easy (2003)
[edit] Other
Metallic Assault CD: A Tribute to Metallica, - Sanitarium (2001)
Numbers From The Beast: An All Star Salute to Iron Maiden- Fear Of The Dark (2005)
[edit] References
^ "Biography for Mikkey Dee". IMDb. Retrieved on 2007-03-29. Also gives date of birth.
^ a b c "Mikkey Dee (Motörhead) Interview". Metal Rules — Heart of Steel: Interviews. Retrieved on 2007-03-29.
^ Lemmy (2002). White Line Fever Simon & Schuster p. 243. ISBN 0-684-85868-1.
^ Burridge, Alan (March 2007). "Interview with Mikkey Dee by Artyom Golew - became cover story in Sep 2006 issue of Russian Alive magazine". Motörheadbangers 27 (78): 6–9.
^ Burridge, Alan Illustrated Collector's Guide to Motorhead Published: 1995, Collector's Guide Publishing p.62. ISBN 0-9695736-2-6.
^ "MOTÖRHEAD's MIKKEY DEE Jams With KING DIAMOND In Sweden", Blabbermouth.net (Apr. 21, 2006). Retrieved on 13 July 2007.
^ "Diamonds Are Forever: An Exclusive Interview With King Diamond", KNAC (December 31, 2001). Retrieved on 13 July 2007.
^ "Interview with Mikkey Dee". Slitz: 60. September 2008.
Mikkey Dee
Background information
Birth name Michael Kiriakos Delaouglou
Born 31 October 1963 (1963-10-31) (age 45)
Gothenburg, Sweden
Genre(s) Heavy metal, Speed metal
Occupation(s) Musician
Instrument(s) drums, Acoustic guitar (live only)
Years active 1985 - present
Associated acts Motörhead
King Diamond
WWIII
Website www.IMotörhead.com
Michael Kiriakos Delaouglou, better known as Mikkey Dee (born 31 October 1963 in Gothenburg, Sweden,[1]) is a half-Greek half-Swedish drummer/songwriter in the heavy metal band, Motörhead. He has been known for his speed and precision since his mid-80s stint with King Diamond.
Contents
1 Career
1.1 Early Life
1.2 King Diamond (1985-1989)
1.3 Don Dokken (1990)
1.4 Motörhead (1992-Present)
2 Discography
2.1 King Diamond
2.2 Don Dokken
2.3 Motörhead
2.4 Helloween
2.5 Other
3 References
4 External links
Career
Life
Delaouglou began his musical career with local bands Nadir and Geisha. His favourite drummer is Ian Paice, other influences being Brian Downey, Neil Peart and Steven Smith. Dee also gives credit to Buddy Rich.[2]
Dee has endorsed German drum manufacturer SONOR for well over 20 years, starting with King Diamond. He is also a long-time endorser of Paiste cymbals, Vic Firth sticks and DW/Drum workshop bass drum pedals.
King Diamond (1985-1989)
Having moved to Copenhagen to play with Geisha,[2] in 1985, he joined King Diamond, who were looking for additional members to complete their line-up. After their release of the "Conspiracy" album (1989), Dee decided to leave the band, as he felt he was becoming more of a back-up musician, rather than an equal contributing songwriter — Diamond himself was becoming quite popular and the musicians backing him were taking a secondary role in the writing and decision making, often Diamond was the only person answering for the whole group in magazine interviews, etc.[2] Dee continued to play as a session drummer for the recording sessions of the Conspiracy album (1989), after which he was replaced by Snowy Shaw.
Don Dokken (1990)
He joined Don Dokken for his solo album, Up From The Ashes (1990) the music videos for the songs "Stay" and "Mirror Mirror" received airplay on MTV's Headbanger's Ball. whilst also playing for World War Three (WWIII).
Motörhead (1992-Present)
Mikkey Dee during a drum soloLemmy had been repeatedly asking him to join Motörhead since 1985, and in 1992, when asked once again, Dee accepted the offer, replacing Phil "Philthy Animal" Taylor.[3] Commenting on his replacement of a longstanding member of the band, Dee said in a 2006 interview:
Phil Taylor was great when he was good... so I could never have filled that space. It's like when you get married and have kids, no one can take my father's place. Of course, some other guy could have taken his place, but he wouldn't have been my father; so I could never be Phil Taylor, so I had to introduce Mikkey Dee into Motörhead.[4]
Dee's first gig with the band was on 30 August 1992 at Saratoga Performing Arts Center,[5] but he did not have much input on that year's release, March or Die, as this had been recorded with Tommy Aldridge prior to Dee joining the group. Dee did play on the tracks 'Hellraiser', which was on the album, and 'Hell On Earth', which wasn't on the album, but was on the soundtrack album to the film Hellraiser III: Hell on Earth. Ideally the band would have had Dee re-record all the drum tracks but this was not possible, due to a combination of money and time factors.
It is important to note that even though Aldridge was a member of the band, Dee's photo appeared on the rear album sleeve. Aldridge generously said that Dee could take his credit for the playing but Dee politely declined, as the drummers' styles are very different. In an ironic reversal, Aldridge had earlier had his photo on an album on which he played nothing, namely Ozzy Osbourne's Diary of a Madman.
Mikkey Dee live with MotörheadTheir record label, Epic Records dropped the band after its release and the group continued recording with SPV GmbH. The band also started a label themselves, called "Motörhead", which was copyrighted and distributed through Warner-Chappell and ZYX, Dee's first album for this label being 1993's Bastards.
He also played drums on Helloween's 2003 album Rabbit Don't Come Easy, stepping in for Mark Cross.
In April 2006 King Diamond reunited with old friend Mikkey Dee at a sold-out gig at Kåren in Gothenburg, Sweden.[6] In 2001 King referred to Dee as "one of the best [drummers] of all time and that's something that has bothered us since he left."[7]
Dee also played the drums for Martin "E-Type" Eriksson in the Swedish pre-qualification to the Eurovision song contest 2004, as well as on E-Type's 2003 Eurometal tour.
He is famous for his long drum solos during concerts, often lasting between five and fifteen minutes and filling between songs. On the Motorizer tour he performed several long solos, in which the other members left the stage and re-joined at the end for another song.
Dee is a hockey enthusiast and a supporter of the Frölunda HC team from Gothenburg. The rumor that Dee was in a Swedish National Youth Hockey team (stemming from an interview on Motorhead's stagefright DVD) has since been rebutted by Dee himself, claiming that "in the end of the 80's and a bit into the 90's I played for a team called Team Sweden in southern California" causing the rumor to arise.[8]
Discography
[edit] King Diamond
Fatal Portrait (1986)
Abigail (1987)
Them (1988)
Conspiracy (1989)
[edit] Don Dokken
Up From The Ashes (1990)
[edit] Motörhead
March ör Die (1992)
Bastards (1993)
Sacrifice (1995)
Overnight Sensation (1996)
Snake Bite Love (1998)
We Are Motörhead (2000)
Hammered (2002)
Inferno (2004)
Kiss of Death (2006)
Motorizer (2008)
[edit] Helloween
Rabbit Don't Come Easy (2003)
[edit] Other
Metallic Assault CD: A Tribute to Metallica, - Sanitarium (2001)
Numbers From The Beast: An All Star Salute to Iron Maiden- Fear Of The Dark (2005)
[edit] References
^ "Biography for Mikkey Dee". IMDb. Retrieved on 2007-03-29. Also gives date of birth.
^ a b c "Mikkey Dee (Motörhead) Interview". Metal Rules — Heart of Steel: Interviews. Retrieved on 2007-03-29.
^ Lemmy (2002). White Line Fever Simon & Schuster p. 243. ISBN 0-684-85868-1.
^ Burridge, Alan (March 2007). "Interview with Mikkey Dee by Artyom Golew - became cover story in Sep 2006 issue of Russian Alive magazine". Motörheadbangers 27 (78): 6–9.
^ Burridge, Alan Illustrated Collector's Guide to Motorhead Published: 1995, Collector's Guide Publishing p.62. ISBN 0-9695736-2-6.
^ "MOTÖRHEAD's MIKKEY DEE Jams With KING DIAMOND In Sweden", Blabbermouth.net (Apr. 21, 2006). Retrieved on 13 July 2007.
^ "Diamonds Are Forever: An Exclusive Interview With King Diamond", KNAC (December 31, 2001). Retrieved on 13 July 2007.
^ "Interview with Mikkey Dee". Slitz: 60. September 2008.
miércoles 10 de diciembre de 2008
MOTORHEAD - Lemmy, Campbell, Wurzel and Taylor
Ace of Spades (song)
It has been suggested that Ace of Spades (live) be merged into this article or section. (Discuss)
“Ace of Spades”
Single by Motörhead
from the album Ace of Spades
B-side Dirty Love
Released 27 October 1980
Format 7"
12"
Recorded 4 August – 15 September 1980
Jackson's Studios, Rickmansworth, UK
Genre Heavy metal, speed metal
Length 2:49
Label Bronze Records
Writer(s) Eddie Clarke, Ian Kilmister, Phil Taylor
Producer Vic Maile
Motörhead singles chronology
"Bomber"
(1979) "Ace of Spades"
(1980) "Motorhead (live)"
(1981)
Alternate cover
Christmas picture sleeve edition
For the 1988 live single, see "Ace of Spades (live)"
"Ace of Spades" is a song by the English heavy metal band Motörhead, released in 1980 as a single and the title track to the album Ace of Spades. The song spent 12 weeks in the UK Singles Chart, peaking at #15.
The song is considered to be the definitive Motörhead anthem,[5] and "put a choke on the English music charts and proved to all that a band could succeed without sacrificing its blunt power and speed".[6]
Pocket Oxford Spanish Dictionary © 2005 Oxford University Press:
anthem /'ænθəm/ sustantivo-
himno (sustantivo masculino);
The song became a staple of the band's live set, with Lemmy acknowledging that despite becoming "sick" of performing it, they "can't ditch Ace of Spades, it wouldn't be right. If I go to see Little Richard, I expect to hear Good Golly Miss Molly or I'd be pissed off".[8] Live versions have appeared on the albums No Sleep 'til Hammersmith (1981), Nö Sleep at All (1988), Everything Louder than Everyone Else (1999), Live at Brixton Academy (2003) and Better Motörhead than Dead: Live at Hammersmith (2007).
The 1988 live version from Nö Sleep at All was released as a single "Ace of Spades (live)", although later withdrawn.
It was the first song that Phil Campbell and Wurzel played with the band - on the Bambi episode of The Young Ones. The line up is particularly rare until 1987: Lemmy, Campbell, Wurzel and Taylor. Taylor had already left the band by the time the filming started, but kept to his promise of making the performance.[4]
In September 1993 WGAF Records re-released the original 1980s track on CD-single, cassette single, 12" vinyl picture sleeve and picture disc versions, the song was coupled with "Louie Louie", "Dirty Love", and "Ace of Spades (The CCN Remix)", and although the band were not too pleased with the CCN Remix version, this single peaked at #23 in the UK charts.[4]
Cover versions
Hardcore punk band Blood for Blood covered the song as a hidden track on their album Livin'in Exile, and has been featured on several Motörhead tribute albums.
The song is covered by three psychobilly bands, Batmobile, The Young Werewolves, and Three Bad Jacks.
The song is covered by sludge metal pioneers "Crowbar"
The song is also covored by a rockabilly band called Union Ave.
This song has been covered by The Reverend Horton Heat during live performances.
A Dutch version of "Ace of Spades" (Called "Schoppen Aas") is covered by the Dutch Hard Rock band Peter Pan Speedrock. Dikke Dennis performs the vocals on this version.
Southern Metal band He Is Legend has covered the song live.
The song has been covered by the band Ween at live concerts.
San Diego hardcore band "Battalion of Saints" covered the song "Ace of Spades" on their 1984 album "Second Coming."
Italian metal band Extrema plays this song at the end of their live concerts, and included it in their Set the world on fire record in 2005.
The Swedish Viking metal band Bathory covered it with a much slower pace than the original.
German thrash/black metal band Sodom did a cover on their 2003 live album One Night in Bangkok.
Swedish metal band Drain STH released a droning 5:02 cover version as a bonus track on the 1998 reissue of the album Horror Wrestling and have played it live.
Hayseed Dixie, a satirical bluegrass band has covered the song, appropriating the piece for acoustic guitar, mandolin, bass, banjo and vocals.
Is covered by the Chilean band "Mox" in their album "Con Cover".
The German Fun Metal Band J.B.O. covered the Song in a unplugged Version called "Ace of Spades umgepflügt" (Ace of Spades plowed up)
1990's industrial punk band Killing Floor covered the song on a hidden track at the end of their self-titled album.
The Shop Assistants recorded a version for a John Peel session in 1986.[9]
British rock band Stereophonics often briefly incorporate the chorus of the song into live performances of their single The Bartender and the Thief.
In popular culture
Video games
The song was featured in the popular skateboarding game Tony Hawk's Pro Skater 3.
A cover version of "Ace of Spades", containing an extended guitar solo in the climax of the song, was featured in the 2005 music video game Guitar Hero for PlayStation 2. It was included in a downloadable 3-song pack for the Xbox 360 version of its successor, Guitar Hero II, as well.
The song also appears in 2K Sports Baseball title The Bigs.
A rerecording of the song, "Ace of Spades '08", is in the setlist of Rock Band 2.
"Ace of Spades" also appears in the PlayStation 2 karaoke game SingStar Amped.
Television
In an episode of the Men Behaving Badly television sitcom, Gary and Tony play air guitar to the track.
In the Black Books episode Party (the last of series 3) the three main characters have a very drunken dancing competition to a portion of this song, with no clear winner (everyone just gets tired out and sits down, nursing their drinks).
The song was chosen to appear in the documentary Metal: A Headbanger's Journey.
In comedy Give My Head Peace, episode Canada, the beginning scene the alarm clock shows 5:59 then it turns to 6:00 and Ace of Spades starts playing full blast, from Uncle Andy's radio station, thus waking everybody in the house.
The song was used in the majority of the Creamy Muck Muck scenes of the CBBC children's programme, Dick and Dom in da Bungalow.
The song was used in an episode of BBC's motoring show, Top Gear, that featured the Lotus Exige attempting to avoid missile lock from an Apache helicopter.
The song is often played in the background in previews of Sports Tonight, an Australian news programme on Channel Ten, Australia.
Film
The song was used in the movie Grosse Pointe Blank, during a gunfight in a convenience store between hitman Martin Blank (John Cusack) and another hitman sent after him, a teenager is playing an arcade game to the sound of Ace of Spades at maximum volume in his headphones and escapes unharmed, completely oblivious to the destruction unfolding around him.
This song is feature in the opening credits of Zombie Nightmare.
The song is used in the introductory scene for The Tremor Brothers in the movie Smokin' Aces, as well as in the teaser trailer.
The song appears in the 2007 Judd Apatow comedy Superbad starring Seth Rogen and Jonah Hill.
The song appears in the 2007 film Shoot 'Em Up during the shootout in Mr. Smith's hideout. It appears on the film's soundtrack as well.
[edit] Adverts
The song is used in the 1998 Golden Wonder Pot Noodle, the 2000 IKEA furniture, the 2003 Clark's Marathon Boy, and the 2005 Walkers Crisps television advertisements.
The song was used in commercials for 2K Sports' video game, The Bigs.
In a recent AT&T Wireless commercial, "The Ace of Spades" is sung by a guy in bar who has no signal for his cellphone - the premise is that his friend has tried to call him over 30 times because he has managed to get Motörhead tickets for the show later that night.
[edit] Other
Between 8pm and 2am on November 9, 2005 at The Boat nightclub in Toronto, the song was played 128 times consecutively.[10]
After a 15 year career with the network, DJ Simon Mayo played the song to end his final show on BBC Radio 1 in 2001. The comedian, Noel Fielding, described the song as the sound of his childhood, as his parents would play it constantly.
[edit] See also
Ace of Spades
Dead man's hand
[edit] References
^ Burridge, Alan (April 1991). "Motörhead". Record Collector (140): 18–19.
^ Burridge, Alan; Mick Stevenson (July 1993). "Motörhead". Record Collector (167): 72.
^ Kilmister, Lemmy & Garza, Janiss White Line Fever Published: 2002, Simon & Schuster (Trade Division) ISBN 0-684-85868-1
^ a b c Burridge, Alan Illustrated Collector's Guide to Motörhead Published: 1995, Collector's Guide Publishing ISBN 0-9695736-2-6
^ Konow, David (2002). Bang Your Head, Three Rivers Press, c2002. pp. 226 has "Motorhead's signature song, Ace of Spades". ISBN 0-609-80732-3.
^ Christe, Ian (2004). Sound of the Beast, Allison & Busby. ISBN 0749083514.
^ "VH1 40 Greatest Metal Songs", 1-4 May 2006, VH1 Channel, reported by VH1.com; last accessed 10 September, 2006.
^ Shaw, Harry (2002). Lemmy... In his own words, Omnibus Press (c) 2002. pp. 39. ISBN 0-7119-9109-X.
^ BBC - Radio 1 - Keeping It Peel - 11/11/1986 The Shop Assistants
^ "Motörhead madness-athon". globeandmail.com article. Retrieved on 2007-04-11.
MOTORHEAD - Lemmy, Campbell, Wurzel and Taylor
Ace of Spades (song)
It has been suggested that Ace of Spades (live) be merged into this article or section. (Discuss)
“Ace of Spades”
Single by Motörhead
from the album Ace of Spades
B-side Dirty Love
Released 27 October 1980
Format 7"
12"
Recorded 4 August – 15 September 1980
Jackson's Studios, Rickmansworth, UK
Genre Heavy metal, speed metal
Length 2:49
Label Bronze Records
Writer(s) Eddie Clarke, Ian Kilmister, Phil Taylor
Producer Vic Maile
Motörhead singles chronology
"Bomber"
(1979) "Ace of Spades"
(1980) "Motorhead (live)"
(1981)
Alternate cover
Christmas picture sleeve edition
For the 1988 live single, see "Ace of Spades (live)"
"Ace of Spades" is a song by the English heavy metal band Motörhead, released in 1980 as a single and the title track to the album Ace of Spades. The song spent 12 weeks in the UK Singles Chart, peaking at #15.
The song is considered to be the definitive Motörhead anthem,[5] and "put a choke on the English music charts and proved to all that a band could succeed without sacrificing its blunt power and speed".[6]
Pocket Oxford Spanish Dictionary © 2005 Oxford University Press:
anthem /'ænθəm/ sustantivo-
himno (sustantivo masculino);
The song became a staple of the band's live set, with Lemmy acknowledging that despite becoming "sick" of performing it, they "can't ditch Ace of Spades, it wouldn't be right. If I go to see Little Richard, I expect to hear Good Golly Miss Molly or I'd be pissed off".[8] Live versions have appeared on the albums No Sleep 'til Hammersmith (1981), Nö Sleep at All (1988), Everything Louder than Everyone Else (1999), Live at Brixton Academy (2003) and Better Motörhead than Dead: Live at Hammersmith (2007).
The 1988 live version from Nö Sleep at All was released as a single "Ace of Spades (live)", although later withdrawn.
It was the first song that Phil Campbell and Wurzel played with the band - on the Bambi episode of The Young Ones. The line up is particularly rare until 1987: Lemmy, Campbell, Wurzel and Taylor. Taylor had already left the band by the time the filming started, but kept to his promise of making the performance.[4]
In September 1993 WGAF Records re-released the original 1980s track on CD-single, cassette single, 12" vinyl picture sleeve and picture disc versions, the song was coupled with "Louie Louie", "Dirty Love", and "Ace of Spades (The CCN Remix)", and although the band were not too pleased with the CCN Remix version, this single peaked at #23 in the UK charts.[4]
Cover versions
Hardcore punk band Blood for Blood covered the song as a hidden track on their album Livin'in Exile, and has been featured on several Motörhead tribute albums.
The song is covered by three psychobilly bands, Batmobile, The Young Werewolves, and Three Bad Jacks.
The song is covered by sludge metal pioneers "Crowbar"
The song is also covored by a rockabilly band called Union Ave.
This song has been covered by The Reverend Horton Heat during live performances.
A Dutch version of "Ace of Spades" (Called "Schoppen Aas") is covered by the Dutch Hard Rock band Peter Pan Speedrock. Dikke Dennis performs the vocals on this version.
Southern Metal band He Is Legend has covered the song live.
The song has been covered by the band Ween at live concerts.
San Diego hardcore band "Battalion of Saints" covered the song "Ace of Spades" on their 1984 album "Second Coming."
Italian metal band Extrema plays this song at the end of their live concerts, and included it in their Set the world on fire record in 2005.
The Swedish Viking metal band Bathory covered it with a much slower pace than the original.
German thrash/black metal band Sodom did a cover on their 2003 live album One Night in Bangkok.
Swedish metal band Drain STH released a droning 5:02 cover version as a bonus track on the 1998 reissue of the album Horror Wrestling and have played it live.
Hayseed Dixie, a satirical bluegrass band has covered the song, appropriating the piece for acoustic guitar, mandolin, bass, banjo and vocals.
Is covered by the Chilean band "Mox" in their album "Con Cover".
The German Fun Metal Band J.B.O. covered the Song in a unplugged Version called "Ace of Spades umgepflügt" (Ace of Spades plowed up)
1990's industrial punk band Killing Floor covered the song on a hidden track at the end of their self-titled album.
The Shop Assistants recorded a version for a John Peel session in 1986.[9]
British rock band Stereophonics often briefly incorporate the chorus of the song into live performances of their single The Bartender and the Thief.
In popular culture
Video games
The song was featured in the popular skateboarding game Tony Hawk's Pro Skater 3.
A cover version of "Ace of Spades", containing an extended guitar solo in the climax of the song, was featured in the 2005 music video game Guitar Hero for PlayStation 2. It was included in a downloadable 3-song pack for the Xbox 360 version of its successor, Guitar Hero II, as well.
The song also appears in 2K Sports Baseball title The Bigs.
A rerecording of the song, "Ace of Spades '08", is in the setlist of Rock Band 2.
"Ace of Spades" also appears in the PlayStation 2 karaoke game SingStar Amped.
Television
In an episode of the Men Behaving Badly television sitcom, Gary and Tony play air guitar to the track.
In the Black Books episode Party (the last of series 3) the three main characters have a very drunken dancing competition to a portion of this song, with no clear winner (everyone just gets tired out and sits down, nursing their drinks).
The song was chosen to appear in the documentary Metal: A Headbanger's Journey.
In comedy Give My Head Peace, episode Canada, the beginning scene the alarm clock shows 5:59 then it turns to 6:00 and Ace of Spades starts playing full blast, from Uncle Andy's radio station, thus waking everybody in the house.
The song was used in the majority of the Creamy Muck Muck scenes of the CBBC children's programme, Dick and Dom in da Bungalow.
The song was used in an episode of BBC's motoring show, Top Gear, that featured the Lotus Exige attempting to avoid missile lock from an Apache helicopter.
The song is often played in the background in previews of Sports Tonight, an Australian news programme on Channel Ten, Australia.
Film
The song was used in the movie Grosse Pointe Blank, during a gunfight in a convenience store between hitman Martin Blank (John Cusack) and another hitman sent after him, a teenager is playing an arcade game to the sound of Ace of Spades at maximum volume in his headphones and escapes unharmed, completely oblivious to the destruction unfolding around him.
This song is feature in the opening credits of Zombie Nightmare.
The song is used in the introductory scene for The Tremor Brothers in the movie Smokin' Aces, as well as in the teaser trailer.
The song appears in the 2007 Judd Apatow comedy Superbad starring Seth Rogen and Jonah Hill.
The song appears in the 2007 film Shoot 'Em Up during the shootout in Mr. Smith's hideout. It appears on the film's soundtrack as well.
[edit] Adverts
The song is used in the 1998 Golden Wonder Pot Noodle, the 2000 IKEA furniture, the 2003 Clark's Marathon Boy, and the 2005 Walkers Crisps television advertisements.
The song was used in commercials for 2K Sports' video game, The Bigs.
In a recent AT&T Wireless commercial, "The Ace of Spades" is sung by a guy in bar who has no signal for his cellphone - the premise is that his friend has tried to call him over 30 times because he has managed to get Motörhead tickets for the show later that night.
[edit] Other
Between 8pm and 2am on November 9, 2005 at The Boat nightclub in Toronto, the song was played 128 times consecutively.[10]
After a 15 year career with the network, DJ Simon Mayo played the song to end his final show on BBC Radio 1 in 2001. The comedian, Noel Fielding, described the song as the sound of his childhood, as his parents would play it constantly.
[edit] See also
Ace of Spades
Dead man's hand
[edit] References
^ Burridge, Alan (April 1991). "Motörhead". Record Collector (140): 18–19.
^ Burridge, Alan; Mick Stevenson (July 1993). "Motörhead". Record Collector (167): 72.
^ Kilmister, Lemmy & Garza, Janiss White Line Fever Published: 2002, Simon & Schuster (Trade Division) ISBN 0-684-85868-1
^ a b c Burridge, Alan Illustrated Collector's Guide to Motörhead Published: 1995, Collector's Guide Publishing ISBN 0-9695736-2-6
^ Konow, David (2002). Bang Your Head, Three Rivers Press, c2002. pp. 226 has "Motorhead's signature song, Ace of Spades". ISBN 0-609-80732-3.
^ Christe, Ian (2004). Sound of the Beast, Allison & Busby. ISBN 0749083514.
^ "VH1 40 Greatest Metal Songs", 1-4 May 2006, VH1 Channel, reported by VH1.com; last accessed 10 September, 2006.
^ Shaw, Harry (2002). Lemmy... In his own words, Omnibus Press (c) 2002. pp. 39. ISBN 0-7119-9109-X.
^ BBC - Radio 1 - Keeping It Peel - 11/11/1986 The Shop Assistants
^ "Motörhead madness-athon". globeandmail.com article. Retrieved on 2007-04-11.
lunes, 8 de diciembre de 2008
"Cuando la música acabe"
«Cuando la música acabe», alertó Jim Morrison («The Doors») en 1967, como una metáfora del fin del mundo. ¿Fue profético? ¿Desaparecerá?
Cada vez son más las voces de notables —entre ellos, la mayoría de los republicanos-estadounidenses—, que anuncian la caída de la larga etapa liderada por la superpotencia del Norte. Los ojos de la Humanidad, aun los que estuvieron sordos, ciegos y mudos, empezaron a abrirse. Sí. Aunque el Poder mundial intente recrearlo, maquillado, vivimos el principio del final del capitalismo, la caída del Imperio Americano.
Por cierto que este Régimen hegemónico y unipolar que adoró al «Dios Mercado» en detrimento de las personas, no se agotará de un día para otro. El futuro de Rusia no está definido; China no piensa sino en alimentar a sus casi 1.400 millones de almas, y Europa está desorientada. El presidente de Francia, Nicolas Sarkozy, es el Amigo americano, el mejor alumno de los USA de George W. Bush. Este monsieur que está liquidando los derechos sociales del ex-país de los derechos humanos; el mismo que está rematando la France como si fuera un mercadito; el que construye un Estado policiaco, se ha permitido decir que el capitalismo —el mismo con que él comulga— es el «culpable». La música es tu amigo especial / Baila sobre el fuego como te lo pide / La música es tu único amigo / Hasta el final, tañe la voz de Jim Morrison, en medio del disparate general.
El silencio. El silencio que rasga el alma del mundo —el miedo— se quiebra en dislates, a veces divertidos. En Villa Borghese (Roma), veinte personas comieron hace poco, a cincuenta metros de altura, sobre la copa de los árboles, sostenidos por una grúa: querían disfrutar del paisaje. Y a los pocos días, el alcalde de la ciudad dijo a la prensa que el fascismo no encarnaba el «mal absoluto». ¡Vaya tiramisú!
Desde que en el «septiembre negro» empezó la crisis financiera de Wall Street y se extendió por el mundo, quedó claro que el precio no lo pagan los ricos, sino las personas del común. Recesión, suba de precios, salarios caídos, huelgas, estallidos sociales y aumento de la pobreza, son moneda cotidiana. Y continuarán. Como contrapartida, las grandes fortunas, lejos de volatilizarse, pasan de unas a otras manos; de las de Merrill Lynch a las del Bank of América, por citar uno de los casos.
¿Es el fin? El «septiembre negro» — más que una causa de lo que vivimos hoy— fue un disparador. Y es una consecuencia. Esta caída empezó en 1981 con Ronald Reagan y el fundamentalismo del mercado: la «Reaganomics», como se conoció su invento. El de la más despiadada plutocracia, y también el de la desvinculación de la responsabilidad del Estado para con sus ciudadanos. Durante casi treinta años, los «amos del universo» —llamados así por el escritor Tom Wolfe en La Hoguera de las vanidades— dirigen los destinos del planeta. Los amos, son los menos. Empalagados de riquezas materiales incalculables, deciden los destinos de los más de los sufrientes y cada vez más excluidos de toda esperanza. El desamparo crece y se extiende sobre las generaciones, como una telaraña.
Por otra parte, ni el centroizquierda ni la izquierda pudieron todavía articular una propuesta seria; están todavía bajo el shock de las sucesivas crisis —salvo en algunos pocos países de América Latina—, y no tienen respuestas ante al desastre.
¿Cuánto durará esta caída? Según la mayoría de los analistas más conservadores, entre diez y quince años, aunque más probablemente veinte. Todo depende del resultado de la puja entre los menos que quieren destruir en pro de esa oligarquía financiera; y los menos que abogan por el bien de los más: la mayoría doliente. Y aquí no caben ni pesimismo ni optimismo sino la conciencia despierta del mundo, para recordar que la responsabilidad es de todos. Porque tantas veces esos «todos» bendijeron en las urnas lo mismo que los sacrificaba en la vida, y porque es tan bello el paisaje de las ovejas en sus rebaños, como degradante que el Hombre viva para dar balidos.
Titilan las mariposas, despavoridas, ante la inminencia de lo desconocido, mientras el hombre parece una hoja en la tormenta, sin saber siquiera cómo reaccionar. «Voy a bailar el Apocalipsis», dijo frente a multitudes el bailaor sevillano Israel Galván, y su danza tradujo en imágenes esa sensación de final. Con sonidos reales de bombardeos y misiles. ¿Un anuncio? Ya Francis Coppola había hecho su «Apocalypse Now», pero el mundo siguió andando. Bueno, ¿anduvo?
La caída encantada
Fue el escritor finlandés Arto Paasilinna quien encontró una salida armoniosa a este intríngulis universal. Escribió en 1991 El Cántico del apocalipsis alegre, traducido por ahora sólo en francés. Es una fábula gozosa que alumbra la esperanza, y nos conduce hasta 2023. Como una fantasía que alienta la imaginación, rescata la utopía y nos invita a un mundo fantástico, sin negar el pavor.
Curiosamente, el apellido del autor —traducido a nuestra lengua—, significa «fortaleza de piedra»; y es justamente lo que Arto nos ofrece en su Cántico: un enjambre de luces sobre nuestro futuro azaroso. Pero –eso sí— nos pide el deber de resistir durante este final provisorio del mundo que él prevé en 2023... con más víctimas, fruto de los estertores del capitalismo. Por cierto que Paasilinna relata la caída del Muro de Berlín (1989) y —aunque jubiloso e irónico— profetiza lo que vivimos y viviremos.
Con el Muro, uno de cuyos iconos más conocidos fue la «Guerra Fría», se desplomaba el sistema económico, político y social representado por la Unión Soviética, Hoy, según los especialistas más lúcidos del mundo, entre ellos Joseph Stiglitz —Premio Nobel de la Economía 2001—, la crisis de Wall Street fue al capitalismo lo que la caída del Muro al comunismo. Stiglitz, como tantas otras voces, vaticina el fin del enriquecimiento obsceno de los sectores financieros y de las multinacionales, que aún retienen el Poder. Para revertir la situación, habrá que esperar años.
Sí, el número de hambrientos en el mundo es de 925 millones: sólo en un año, 75 millones se sumaron a los famélicos. Y aunque, por un lado y con una mirada idealizada, algunos ven en América latina una esperanza, no menos de 26 millones de sus gentes engrosarán —casi de un día para el otro— las filas de los hambrientos. La música es tu amigo especial/Baila sobre el fuego como te lo pide/La música es tu único amigo/Hasta el final, nos desafían «The Doors».
¿El ojo de Dios?
En la frontera entre Francia y Suiza, los científicos buscan la «partícula de Dios». Inventaron un Gran Colisionador de Hadrones (LHC), para descubrir el origen del Universo. Todo está puesto en duda. «Todo lo sólido se desvanece en el aire», como escribió en el ‘88 Marshall Bergman.
El miedo, el miedo que lacera; la sensación de ser títeres bajo la locura de los poderosos; lo desconocido y acechante incitan también al humor... negro. Enterradores ucranianos de la empresa «Eternidad» hicieron un restaurante en un espacio de veinte metros de largo. Es un ataúd —el mais grande do mundo—, decorado con féretros y cuyos platos tienen nombres relacionados con la muerte: «Nos vemos en el Paraíso», o «Ríase del infierno», por ejemplo. Otro caso: enfermo de vacío y sediento de sangre, un joven argentino mató a su papá, lo cocinó y... se lo comió. Como contrapartida, el suizo Yves Rossi, provisto de alas equipadas con reactores sobre sus espaldas y su cuerpo como fuselaje, voló sobre los 35 kilómetros del Canal de la Mancha en diez minutos. Por gracia, también hay pájaros.
Crisis energética, cambio climático, calentamiento global, deforestación, discriminación, inmigrantes que buscan un lugar bajo el sol y encuentran la muerte de la mano de su hermano, el hombre; ocupaciones de países y masacres por parte del Imperio; la crisis financiera; la militarización de la América indígena; la amenaza de carencia de agua, mientras los sin conciencia la despilfarran; la medicina inaccesible para la mayoría, la falta de viviendas y de educación, las muertes por pánico…
El hombre horrorizó a la Naturaleza y hoy estamos expuestos a su justa furia. Pero ahora, cuando lo que se juega es nada menos que el destino de todos, lo peor es la pérdida del sentido de la vida, de los valores humanos. Tomados por las urgencias y por la banalidad con que el Sistema distrae la atención de los desprevenidos o indiferentes, no vemos el calidoscopio que —como un milagro— nos convoca con mil imágenes a dar vida a la vida.
Hoy conocemos la realidad. ¿Qué viene después? Sólo hay presunciones. ¿Se harán ciertas las profecías mayas? Según ellas, después de sufrir no pocas desventuras, el 22 de diciembre de 2012 comenzará una nueva Era. ¿Cambiamos de paradigmas... o elegimos las sombras?
Según Una breve historia del futuro, libro del economista y pensador francés Jacques Attali, hay tres alternativas. La primera —que todos, y aun los hechos, descartan— es la continuación del Imperio de los USA, lo que significaría el fin del mundo. Otra, igualmente grave, es el súper-conflicto que seguiría a su caída, en cuyo caso continuaría la mundialización capitalista, el caos seguiría in crescendo, mientras que la anomia internacional permitiría que nuevos grupos de depredadores —con acceso a armas de destrucción masiva— cruzaran el espacio y los mares. De cumplirse esta hipótesis, la especie humana se extinguirá.
Otra posibilidad: la súper-democracia. Si la humanidad no quiere autoaniquilarse, el camino sería un contrato social planetario, con instancias de gobernabilidad y acciones colectivas en pro de la naturaleza. Así, podría inaugurarse la existencia, como una posibilidad humana de transitar el tiempo.
Hoy sabemos que Barack Obama sucederá a Georges W. Bush, calificado como «el peor entre todos los presidentes de los USA». Mientras tanto, y hasta que el 20 de enero entregue el Poder, sigue cometiendo atrocidades ¿Cuántas puede perpetrar, si hasta hoy no se privó de ninguna?
Y después, con el flamante electo... ¿qué? Más que los ciudadanos estadounidenses, parece haberlo votado el mundo todo. Las esperanzas puestas en él no tienen ni asidero, ni posibilidades serias de concretarse. Pareciera que se trata de inventar una ilusión. ¿Seguiremos soñando ser «libres como el viento», mientras vivimos prisioneros y amurallados por el miedo?
¿O quizá los pájaros nos mirarán desde su camino aéreo y desearán ser «libres como los hombres»?
Cristina Castello
Alai-amlatina
When the Musics Over - The Doors
Cada vez son más las voces de notables —entre ellos, la mayoría de los republicanos-estadounidenses—, que anuncian la caída de la larga etapa liderada por la superpotencia del Norte. Los ojos de la Humanidad, aun los que estuvieron sordos, ciegos y mudos, empezaron a abrirse. Sí. Aunque el Poder mundial intente recrearlo, maquillado, vivimos el principio del final del capitalismo, la caída del Imperio Americano.
Por cierto que este Régimen hegemónico y unipolar que adoró al «Dios Mercado» en detrimento de las personas, no se agotará de un día para otro. El futuro de Rusia no está definido; China no piensa sino en alimentar a sus casi 1.400 millones de almas, y Europa está desorientada. El presidente de Francia, Nicolas Sarkozy, es el Amigo americano, el mejor alumno de los USA de George W. Bush. Este monsieur que está liquidando los derechos sociales del ex-país de los derechos humanos; el mismo que está rematando la France como si fuera un mercadito; el que construye un Estado policiaco, se ha permitido decir que el capitalismo —el mismo con que él comulga— es el «culpable». La música es tu amigo especial / Baila sobre el fuego como te lo pide / La música es tu único amigo / Hasta el final, tañe la voz de Jim Morrison, en medio del disparate general.
El silencio. El silencio que rasga el alma del mundo —el miedo— se quiebra en dislates, a veces divertidos. En Villa Borghese (Roma), veinte personas comieron hace poco, a cincuenta metros de altura, sobre la copa de los árboles, sostenidos por una grúa: querían disfrutar del paisaje. Y a los pocos días, el alcalde de la ciudad dijo a la prensa que el fascismo no encarnaba el «mal absoluto». ¡Vaya tiramisú!
Desde que en el «septiembre negro» empezó la crisis financiera de Wall Street y se extendió por el mundo, quedó claro que el precio no lo pagan los ricos, sino las personas del común. Recesión, suba de precios, salarios caídos, huelgas, estallidos sociales y aumento de la pobreza, son moneda cotidiana. Y continuarán. Como contrapartida, las grandes fortunas, lejos de volatilizarse, pasan de unas a otras manos; de las de Merrill Lynch a las del Bank of América, por citar uno de los casos.
¿Es el fin? El «septiembre negro» — más que una causa de lo que vivimos hoy— fue un disparador. Y es una consecuencia. Esta caída empezó en 1981 con Ronald Reagan y el fundamentalismo del mercado: la «Reaganomics», como se conoció su invento. El de la más despiadada plutocracia, y también el de la desvinculación de la responsabilidad del Estado para con sus ciudadanos. Durante casi treinta años, los «amos del universo» —llamados así por el escritor Tom Wolfe en La Hoguera de las vanidades— dirigen los destinos del planeta. Los amos, son los menos. Empalagados de riquezas materiales incalculables, deciden los destinos de los más de los sufrientes y cada vez más excluidos de toda esperanza. El desamparo crece y se extiende sobre las generaciones, como una telaraña.
Por otra parte, ni el centroizquierda ni la izquierda pudieron todavía articular una propuesta seria; están todavía bajo el shock de las sucesivas crisis —salvo en algunos pocos países de América Latina—, y no tienen respuestas ante al desastre.
¿Cuánto durará esta caída? Según la mayoría de los analistas más conservadores, entre diez y quince años, aunque más probablemente veinte. Todo depende del resultado de la puja entre los menos que quieren destruir en pro de esa oligarquía financiera; y los menos que abogan por el bien de los más: la mayoría doliente. Y aquí no caben ni pesimismo ni optimismo sino la conciencia despierta del mundo, para recordar que la responsabilidad es de todos. Porque tantas veces esos «todos» bendijeron en las urnas lo mismo que los sacrificaba en la vida, y porque es tan bello el paisaje de las ovejas en sus rebaños, como degradante que el Hombre viva para dar balidos.
Titilan las mariposas, despavoridas, ante la inminencia de lo desconocido, mientras el hombre parece una hoja en la tormenta, sin saber siquiera cómo reaccionar. «Voy a bailar el Apocalipsis», dijo frente a multitudes el bailaor sevillano Israel Galván, y su danza tradujo en imágenes esa sensación de final. Con sonidos reales de bombardeos y misiles. ¿Un anuncio? Ya Francis Coppola había hecho su «Apocalypse Now», pero el mundo siguió andando. Bueno, ¿anduvo?
La caída encantada
Fue el escritor finlandés Arto Paasilinna quien encontró una salida armoniosa a este intríngulis universal. Escribió en 1991 El Cántico del apocalipsis alegre, traducido por ahora sólo en francés. Es una fábula gozosa que alumbra la esperanza, y nos conduce hasta 2023. Como una fantasía que alienta la imaginación, rescata la utopía y nos invita a un mundo fantástico, sin negar el pavor.
Curiosamente, el apellido del autor —traducido a nuestra lengua—, significa «fortaleza de piedra»; y es justamente lo que Arto nos ofrece en su Cántico: un enjambre de luces sobre nuestro futuro azaroso. Pero –eso sí— nos pide el deber de resistir durante este final provisorio del mundo que él prevé en 2023... con más víctimas, fruto de los estertores del capitalismo. Por cierto que Paasilinna relata la caída del Muro de Berlín (1989) y —aunque jubiloso e irónico— profetiza lo que vivimos y viviremos.
Con el Muro, uno de cuyos iconos más conocidos fue la «Guerra Fría», se desplomaba el sistema económico, político y social representado por la Unión Soviética, Hoy, según los especialistas más lúcidos del mundo, entre ellos Joseph Stiglitz —Premio Nobel de la Economía 2001—, la crisis de Wall Street fue al capitalismo lo que la caída del Muro al comunismo. Stiglitz, como tantas otras voces, vaticina el fin del enriquecimiento obsceno de los sectores financieros y de las multinacionales, que aún retienen el Poder. Para revertir la situación, habrá que esperar años.
Sí, el número de hambrientos en el mundo es de 925 millones: sólo en un año, 75 millones se sumaron a los famélicos. Y aunque, por un lado y con una mirada idealizada, algunos ven en América latina una esperanza, no menos de 26 millones de sus gentes engrosarán —casi de un día para el otro— las filas de los hambrientos. La música es tu amigo especial/Baila sobre el fuego como te lo pide/La música es tu único amigo/Hasta el final, nos desafían «The Doors».
¿El ojo de Dios?
En la frontera entre Francia y Suiza, los científicos buscan la «partícula de Dios». Inventaron un Gran Colisionador de Hadrones (LHC), para descubrir el origen del Universo. Todo está puesto en duda. «Todo lo sólido se desvanece en el aire», como escribió en el ‘88 Marshall Bergman.
El miedo, el miedo que lacera; la sensación de ser títeres bajo la locura de los poderosos; lo desconocido y acechante incitan también al humor... negro. Enterradores ucranianos de la empresa «Eternidad» hicieron un restaurante en un espacio de veinte metros de largo. Es un ataúd —el mais grande do mundo—, decorado con féretros y cuyos platos tienen nombres relacionados con la muerte: «Nos vemos en el Paraíso», o «Ríase del infierno», por ejemplo. Otro caso: enfermo de vacío y sediento de sangre, un joven argentino mató a su papá, lo cocinó y... se lo comió. Como contrapartida, el suizo Yves Rossi, provisto de alas equipadas con reactores sobre sus espaldas y su cuerpo como fuselaje, voló sobre los 35 kilómetros del Canal de la Mancha en diez minutos. Por gracia, también hay pájaros.
Crisis energética, cambio climático, calentamiento global, deforestación, discriminación, inmigrantes que buscan un lugar bajo el sol y encuentran la muerte de la mano de su hermano, el hombre; ocupaciones de países y masacres por parte del Imperio; la crisis financiera; la militarización de la América indígena; la amenaza de carencia de agua, mientras los sin conciencia la despilfarran; la medicina inaccesible para la mayoría, la falta de viviendas y de educación, las muertes por pánico…
El hombre horrorizó a la Naturaleza y hoy estamos expuestos a su justa furia. Pero ahora, cuando lo que se juega es nada menos que el destino de todos, lo peor es la pérdida del sentido de la vida, de los valores humanos. Tomados por las urgencias y por la banalidad con que el Sistema distrae la atención de los desprevenidos o indiferentes, no vemos el calidoscopio que —como un milagro— nos convoca con mil imágenes a dar vida a la vida.
Hoy conocemos la realidad. ¿Qué viene después? Sólo hay presunciones. ¿Se harán ciertas las profecías mayas? Según ellas, después de sufrir no pocas desventuras, el 22 de diciembre de 2012 comenzará una nueva Era. ¿Cambiamos de paradigmas... o elegimos las sombras?
Según Una breve historia del futuro, libro del economista y pensador francés Jacques Attali, hay tres alternativas. La primera —que todos, y aun los hechos, descartan— es la continuación del Imperio de los USA, lo que significaría el fin del mundo. Otra, igualmente grave, es el súper-conflicto que seguiría a su caída, en cuyo caso continuaría la mundialización capitalista, el caos seguiría in crescendo, mientras que la anomia internacional permitiría que nuevos grupos de depredadores —con acceso a armas de destrucción masiva— cruzaran el espacio y los mares. De cumplirse esta hipótesis, la especie humana se extinguirá.
Otra posibilidad: la súper-democracia. Si la humanidad no quiere autoaniquilarse, el camino sería un contrato social planetario, con instancias de gobernabilidad y acciones colectivas en pro de la naturaleza. Así, podría inaugurarse la existencia, como una posibilidad humana de transitar el tiempo.
Hoy sabemos que Barack Obama sucederá a Georges W. Bush, calificado como «el peor entre todos los presidentes de los USA». Mientras tanto, y hasta que el 20 de enero entregue el Poder, sigue cometiendo atrocidades ¿Cuántas puede perpetrar, si hasta hoy no se privó de ninguna?
Y después, con el flamante electo... ¿qué? Más que los ciudadanos estadounidenses, parece haberlo votado el mundo todo. Las esperanzas puestas en él no tienen ni asidero, ni posibilidades serias de concretarse. Pareciera que se trata de inventar una ilusión. ¿Seguiremos soñando ser «libres como el viento», mientras vivimos prisioneros y amurallados por el miedo?
¿O quizá los pájaros nos mirarán desde su camino aéreo y desearán ser «libres como los hombres»?
Cristina Castello
Alai-amlatina
When the Musics Over - The Doors
METALLICA.
Metallica
De Wikipedia, la enciclopedia libre
Saltar a navegación, búsqueda
Metallica en un concierto en Londres, 2006. De izquierda a derecha: Kirk Hammett, Lars Ulrich, James Hetfield y Robert Trujillo.
Información general
Personal
Origen
Los Ángeles, California, Estados Unidos
Artística
Estilo
Thrash metal[1]Heavy metal[1]Speed metal[1]Hard rock[1]
Período de actividad
1981 – presente
Discográfica(s)
Warner Bros., Elektra, Vertigo, Megaforce
Artistas relacionados
MegadethEchobrainExodusFlotsam and JetsamVoivodSuicidal Tendencies
Web
Sitio web
http://www.metallica.com/
Miembros
James HetfieldLars UlrichKirk HammettRobert Trujillo
Antiguos miembros
Cliff Burton †Dave MustaineRon McGovneyJason NewstedLloyd Grant
Metallica es una banda de heavy metal originaria de Estados Unidos. Fue fundada en 1981 en Los Ángeles por el danés Lars Ulrich y James Hetfield, a los que se les unirían Lloyd Grant y Ron McGovney. Estos dos músicos fueron después sustituidos por el guitarrista Dave Mustaine y el bajista Cliff Burton, respectivamente. Mustaine fue despedido un año después de ingresar en la banda debido a su excesiva adicción a las drogas y al alcohol, y fundó la banda Megadeth, siendo sustituido en Metallica por Kirk Hammett. Por otra parte, en 1986, la muerte de Cliff Burton en un accidente de autobús en Suecia provocó la entrada al grupo de Jason Newsted,[2] que, quince años más tarde, sería sustituido tras su deserción por el bajista actual de la banda, Robert Trujillo.
Hasta la fecha, la banda ha editado nueve discos de estudio. Las ventas totales de Metallica superan los 100 millones,[3] y son considerados uno de los cuatro grandes del thrash metal junto con Anthrax, Slayer y Megadeth.[4] Además, el grupo ha conseguido numerosos premios musicales, entre los que destacan siete Grammys, dos premios otorgados por la cadena musical MTV, dos galardones de la Academia de Música Americana y un premio de la revista Billboard, y posee una estrella en el paseo de la fama de la revista Kerrang!.
Comienzos
Primeros contactos
Se puede considerar que la historia de Metallica comenzó en 1980 cuando un joven danés llamado Lars Ulrich se traslada junto con su familia a Los Ángeles. Hijo del tenista profesional Torben Ulrich,[5] había desarrollado una enorme afición por el heavy metal durante los '70, cuando la NWOBHM (New Wave Of British Heavy Metal, Nueva Ola de Heavy Metal Británico) reinaba en la escena underground europea, y con su traslado a Estados Unidos, en principio previsto por su padre con el objetivo de la preparación de una carrera dentro del tenis profesional, dicha afición se convertiría prácticamente en una obsesión, sobre todo centrada en los grupos más desconocidos de la nueva corriente inglesa. Su prioridad al llegar a Los Ángeles, lejos de centrarse en el tenis, sería la de explotar su capacidad musical junto con otros jóvenes. Esto le llevaría en 1981 a publicar un anuncio en la revista Recycler solicitando un guitarrista para formar una con influencias de las bandas de la NWOBHM,[6] centrándose concretamente en sus bandas preferidas: Diamond Head, Motörhead y Iron Maiden. Otro joven llamado James Hetfield, hijo de un propietario de una compañía de camiones y de una cantante de ópera y educado con una estricta formación cristiana,[5] respondió a su anuncio. Tuvieron lugar entonces los primeros ensayos conjuntos, y aunque al principio a Hetfield no le convencía la forma de tocar de Ulrich,[7] acabaron formando un grupo. La clave de esta unión fue el tema que Lars tenía reservado por parte de su amigo Brian Slagel, fundador de la por entonces recién creada compañía discográfica Metal Blade Records, en el primer recopilatorio que editaría el sello, titulado Metal Massacre.[8]
El nombre del grupo fue ideado por un amigo de Lars llamado Ron Quintana,[9] quien barajaba «Metalmania» y «Metallica» como posibles nombres para un nuevo fanzine musical, aunque se inclinaba más por el segundo. A Ulrich le gustó tanto este último que rápidamente le recomendó (a Quintana) el primero para poder usarlo él.[10]
Primera formación del grupo y primeras canciones
Ulrich se trasladó al local que Hetfield poseía junto a su amigo Ron McGovney, el cual provenía de una familia acomodada que poseía numerosas propiedades. Hetfield le pidió a McGovney que tocara el bajo en la banda y se ofreció a enseñarle. Además, Ron fue el diseñador del ya famoso logotipo de la banda.[2] Tras incesantes intentos de conseguir un guitarrista líder influido por Motörhead y Iron Maiden, encontraron a Lloyd Grant, un joven guitarrista afroamericano con quien tocaron la primera demo de Metallica, titulada Hit the Lights (1981). Lloyd, que no pensaba quedarse mucho tiempo en la banda, fue al poco tiempo sustituido por Dave Mustaine en la guitarra líder, completando así la primera alineación de Metallica, ya que en Mustaine encontraron a la persona ideal para cerrar la formación. El primer paso fue la grabación del tema para la primera entrega de Metal Massacre. El elegido sería «Hit the Lights», tema que provenía de la anterior banda de Hetfield, Leather Charm, en una versión bastante alejada de la que un año más tarde aparecería en el primer álbum oficial del grupo.
El debut de Metallica en directo tendría lugar el 14 de marzo de 1982 en el club Radio City de Anaheim, en una actuación en la que la falta de experiencia sobre el escenario ocasionó serios problemas a la banda.[2] Dos semanas más tarde tendrían la oportunidad de enmendar su error abriendo dos noches seguidas para los ingleses Saxon en el local Whiskey-A-Go-Go de Los Ángeles. Cabe decir que dentro del libreto del álbum de versiones que la banda realizó en 1998 titulado Garage Inc pueden encontrarse reproducidas las notas que el propio Ulrich tomó en aquel momento sobre la marcha de estos dos conciertos, incluyendo los setlists de ambas noches y las impresiones del baterista sobre la marcha de las mismas.
La decepción que ocasionaron a la banda estos dos malos conciertos hicieron que se replanteasen la contratación de un vocalista mientras Hetfield y Mustaine fuesen los dos guitarristas de la banda. Para ello se contrató a Sammy Dijon, ex vocalista de la banda Ruthless, quien realizó algunas pruebas pero que no fue finalmente admitido en el seno del grupo, por lo que fue despedido.[2] En abril de 1982 se contrató a otro guitarrista, Damien Phillips (de nombre real Brad Parker), para actuar como tal mientras Hetfield se concentraba delante del micrófono, pero también fue despedido después de su primera actuación con la banda debido a la negativa de Mustaine a que hubiese un tercer guitarrista.[2] Posteriormente se barajaron varios cantantes, entre los cuales estaban John Bush, futuro vocalista de Armored Saint, y Jesse Cox de Tygers of Pan Tang. Ninguno fue admitido, motivo por el que Hetfield pasó a encargarse tanto de la segunda guitarra como de la voz desde aquel momento. En un ensayo realizado en la antigua escuela de Lars Ulrich, el vocalista fue Jeff Warner, del que se cuenta que no fue aceptado porque desafinaba demasiado[2] .
Formación definitiva de la banda
Con la edición de Metal Massacre en el mes de junio de, el grupo, tras renegar de la versión de «Hit the Lights» aparecida en el mismo por encontrarse completamente desfasada de lo que constituía su nuevo sonido, decidió grabar su primera demo, titulada No Life 'til Leather probablemente en una alusión al álbum de Motörhead No Sleep 'til Hammersmith. Siete temas formarían parte de esta demo, entre los que se encuentra una versión mucho más potente y acelerada de «Hit the Lights». Con una agenda de conciertos cada vez más ajustada, Hetfield y Ulrich comenzaron a plantearse la sustitución de McGovney. Años después, éste dijo en una entrevista que el resto de la banda le dejaba que se encargara de todo. Es en ese momento cuando empiezan a aparecer los problemas con Dave Mustaine, derivados de un carácter extremadamente violento unido al consumo extremo de alcohol y drogas.[11] Conocedor de la necesidad de Metallica de reclutar un nuevo bajista, Brian Slagel recomienda a Lars y James la banda Trauma, que acababa de editar uno de sus temas en la segunda entrega de Metal Massacre. Hetfield y Ulrich quedarían totalmente impresionados con la destreza y presencia en el escenario de su bajista, Cliff Burton, ofreciéndole inmediatamente el entrar a formar parte de Metallica, lo cual sería inicialmente rechazado por Burton.[8]
Kirk Hammett.
Aún con McGovney en sus filas, la banda grabaría el 29 de noviembre del mismo año (1982) una demo en directo en el The Waldorf de San Francisco, que recibiría el nombre de Live Metal Up Your Ass y en la que estrenarían el tema «Whiplash», inédito hasta entonces. El concierto tendría como teloneros a Exodus, cuyo guitarrista líder, un joven Kirk Hammett, causaría una gran impresión en James y Lars, que ante los crecientes problemas con Mustaine comenzaron a considerarlo como un reemplazo perfecto. Poco tiempo después McGovney decidió dejar Metallica al oír que habían estado estableciendo contactos con Cliff Burton,[12] , para incorporarse a Phantasm, al contrario de la creencia popular de que fue despedido. Posteriormente declaró: «Nunca escuché 'Estás despedido' o algo así de parte de ellos. Yo renuncié, aunque es obvio que, aunque no hubiera renunciado, me iban a despedir de todas maneras». Al mismo tiempo, Cliff Burton, quien estaba teniendo problemas con Trauma debido a la dirección que el resto de los integrantes querían tomar con respecto a su música, decidió pasarse a las filas de Metallica. La única condición no negociable que puso el bajista fue que la banda se trasladase a San Francisco, donde los nuevos sonidos relacionados con el thrash comenzaban a generar una legión de seguidores que recibió el nombre de «Bay Area Bangers». En cualquier caso, Hetfield, Ulrich y Mustaine ya estaban pensando en mudarse a San Francisco, puesto que habían observado la energía y el entusiasmo de la escena thrash de esa ciudad, además de porque la escena de Los Ángeles estaba dominada por el cada vez más famoso glam metal, con bandas como Motley Crue y Ratt.
Kill 'em All
A principios de 1983 el manager y promotor de conciertos Johnny Zazula (con la ayuda de su mujer) se puso en contacto con el grupo para ofrecerles un traslado a Nueva York, con la idea de organizar varios conciertos en la Costa Este y, si todo marchaba bien, grabar un álbum.[6] Tras aceptar la oferta, Metallica inició el viaje el 1 de abril, y tras atravesar todo el país, fijaron su nuevo lugar de residencia en el Music Building de Nueva York, un edificio en el que cohabitaban con varias bandas de rock, entre las que se encontraba Anthrax, iniciando amistad y camaradería entre los dos grupos.[2]
A los diez días de su llegada a Nueva York, la situación con Mustaine se hizo insostenible, con lo que Hetfield y Ulrich sorprendieron a un Mustaine recién despierto para anunciarle que estaba fuera del grupo y que en un breve plazo salía el autobús que habían reservado para su vuelta a casa (posteriormente Dave fundaría Megadeth).[13] Para algunos, el factor que fue finalmente decisivo para la expulsión de Mustaine fue el accidente de furgoneta que éste provocó al conducir ebrio en el trayecto que llevó al grupo de San Francisco a Nueva York.[14] Los integrantes ya estaban preparados para esto. Le pidieron a Zazula que se pusiese en contacto con el guitarrista de Exodus, Kirk Hammett, para unirse a la banda. Al principio, Kirk creía que la llamada de Zazula era una broma, pero finalmente aceptó.[12] De forma simultánea a la expulsión de Dave, Kirk Hammett dejaba Exodus y se disponía a salir hacia Nueva York, llegando esa misma noche a altas horas de la madrugada. Alumno de Joe Satriani, Hammett introduciría un sonido más melódico, técnico y estilizado en Metallica, que se haría patente a partir del segundo álbum del grupo, puesto que el primero estaba compuesto en su totalidad en el momento de su entrada. El debut del nuevo guitarrista tendría lugar en el neoyorquino «Showplace» abriendo para The Rods.
Tras un mes de ensayos, Metallica entraría finalmente el 10 de mayo en los «Music America Studios» para grabar su primer álbum.[6] El tracklisting sería prácticamente igual que el de No Life 'til Leather, incluyendo como novedades el tema «Whiplash», ya aparecido en Live Metal Up Your Ass, y el solo de bajo que Burton solía ejecutar en los conciertos,[15] bajo el nombre de «(Anesthesia) Pulling Teeth». Además, también se incluiría una versión remozada del tema «The Mechanix», añadiendo nuevos riffs y rebautizándola como «The Four Horsemen».[16] La producción correría a cargo de Paul Curcio, propietario de los estudios e ingeniero residente. Su trabajo levantó suspicacias por parte del grupo debido a la diferencia de criterios con respecto al sonido del álbum que quería imprimirle la banda.
Tras seis semanas, el primer trabajo de Metallica sería lanzado en el mes de julio bajo el nombre Kill 'em All. Dicho nombre (Mátalos a Todos) provenía de una frase del Cliff Burton a causa del enfado que produjo en el grupo la negativa de diversas distribuidoras de discos a comercializar el álbum con el título que el grupo quería darle, Metal Up Your Ass (Metal por el culo).[10] [2] Zazula, incapaz de encontrar una compañía discográfica interesada en publicar el disco, optó finalmente por la fundación de un sello propio, Megaforce Records. Se consiguió la cifra de 17.000 copias vendidas en las dos primeras semanas,[17] y sobre todo, Kill 'em All contribuyó notablemente a extender la buena reputación de Metallica, recibiendo una avalancha de críticas favorables por parte de la prensa, que ya comenzaba a verlos como los iniciadores de una nueva corriente en el metal.[1] Posteriormente, la cifra de copias vendidas del disco llegaría hasta las 300.000.[18]
Como forma de promoción, Zazula organizaría un tour conjunto con Raven que los llevaría por todo Estados Unidos, constando de 35 fechas y bautizado como Kill 'em All For One Tour (el álbum que Raven se encontraba promocionando se llamaba All For One). Posteriormente, y tras varios conciertos en San Francisco, Nueva York y Boston, y prácticamente coincidiendo con la edición en Europa del single «Jump in the Fire» por parte del sello Music for Nations, el 3 de febrero de 1984 se inició la gira europea Seven Dates of Hell, en la que se encargan de abrir para los ingleses Venom, teniendo como momento cumbre la participación en el Aardshock Festival en Holanda, tocando ante más de 5.000 personas, la audiencia más grande que habían tenido hasta el momento.[12]
Ride The Lightning
Terminada la gira, Metallica entraría el 20 de febrero en los Sweet Silence Studios de Copenhague para la grabación de su segundo álbum, recayendo todo el peso de la producción en el ingeniero residente Fleming Rasmussen,[6] quien ya había trabajado anteriormente con bandas como Mercyful Fate y Rainbow y posteriormente con Sepultura y Blind Guardian. El ajustado presupuesto del que Zazula disponía se convirtió en el principal problema durante la grabación del álbum, que transcurrió a un ritmo frenético durante menos de un mes, quedando finalizada el 14 de marzo, y viéndose sólo interrumpida por el fallido tour Hell On Earth junto a The Rods y Exciter, finalmente cancelado por la escasa venta de entradas. Con este nuevo trabajo, Metallica tendría que afrontar por primera vez críticas provenientes de sus propios fans debido a la filtración de cuatro temas del álbum en forma de demo de trabajo, concretamente «Fight Fire With Fire», «Creeping Death», «Ride the Lightning» y la experimental e instrumental «When Hell Freezes Over», primer nombre de la después conocida como «The Call of Ktulu». A la considerable evolución mostrada en estos temas se unía el rumor latente de que el grupo estaba trabajando en una balada, lo que provocó cierta agitación dentro del sector más extremo de los fans de la banda.
Actuación de Metallica en 1986 en la gira Damage Inc.
Ride the Lightning, nombre que recibiría finalmente el álbum, supondría un gran cambio en el sonido de la banda, que se adentraba en terrenos mucho más melodicos y sinfónicos. Las labores de composición contaron con la colaboración de Burton y Mustaine, incluyendo este último varios riffs en temas como «Creeping Death», canción editada por Hetfield con una letra sobre las diez plagas de Egipto; es el solo más agradable según el guitarrista, que en su interludio tomaba el riff y la línea vocal del tema «Die By My Hand». También se confirmó el rumor la inclusión de una balada, que recibiría el título de «Fade to Black», y cuya letra trataba acerca del suicidio. Fue escrita por Hetfield inspirándose en el robo de equipo que la banda sufrió el 14 de enero de aquel mismo año (1984),[19] y vista por cierta parte de los primeros seguidores como una traición por parte de la banda, a la que tildaron abiertamente como «vendida».
La primera aparición de la banda en los escenarios tras la grabación tendría lugar en dos sold-out en el londinense Marquee, tras lo cual se harían diversos conciertos en Alemania, Holanda y Bélgica. El momento más importante de este tour llegaría el 3 de agosto en el «Roseland» de Nueva York, donde tendrían un primer contacto con el sello Elektra Records, y en el que, tras el concierto, iniciarían las negociaciones con Peter Mensch y Cliff Burnstein de la agencia Q-Prime, la cual finalmente acabaría comprando el contrato de Metallica a Johnny Zazula. Probablemente es este hecho el que fomentaría las conversaciones de la banda con Elektra, que acabaría fichándolos el 12 de septiembre tras firmar un contrato en el que se otorgaba al grupo el control artístico absoluto sobre su carrera.
El primer movimiento de Elektra tras reclutar a Metallica sería reeditar Ride the Lightning bajo su sello el 19 de noviembre, a la vez que Music for Nations, con la que Zazula tenía un acuerdo aún vigente tras el fichaje por Elektra, edita en Europa el single «Creeping Death», que contendría la suite The Garage Days Re-visited, formada por las versiones «Am I Evil?» y «Blitzkrieg» de Diamond Head. A su vez, se inicia un nuevo tour europeo, esta vez coordinado por Q-Prime con Robert Allen como manager de la gira, que dio comienzo en la francesa ciudad de Rusen el 16 de noviembre y finalizó en el London Lyceum de Londres el 20 de diciembre tras haber visitado Francia, Alemania, Dinamarca, Suecia, Suiza, Italia, Finlandia e Inglaterra con un enorme éxito de público.
Finalizada la gira europea, y tras un descanso por Navidad, Metallica inició el 11 de enero de 1985 un tour por Estados Unidos y Canadá junto a Armored Saint y los WASP de Blackie Lawless, con quienes la banda tuvo varios roces debido al supuesto ego de dicho frontman. Sería durante esta gira cuando la banda comienza a ser conocida como «Alcoholica» por sus excesos con el alcohol. A esto se uniría el cartel que colocaron en dicho autobús, «No se ría, señor. Su hija probablemente esté dentro», que daba una idea de la actitud desenfadada del grupo. Tras más de tres meses en la carretera, la gira tendría su final en el Starry Night Club de Portland.
Master of Puppets y la muerte de Cliff
Pasados dos años de gira, volvieron a los Sweet Silence Studios. De allí surgió Master of Puppets, uno de los discos más alabados dentro del heavy metal,[1] cuya canción principal homónima está considerada por muchos fans como la mejor de Metallica. El disco ha vendido hasta la fecha más de 7 millones de copias en todo el mundo, a pesar de que sólo llegó en su día al puesto 29 del Billboard.[20]
La gira de presentación del disco comenzó en verano de 1986 con el guitarrista rítmico John Marshall, ya que Hetfield se había roto el brazo en un accidente de skateboard.[2] En dicha, esta vez en Europa y con Hetfield recuperado, el autobús de la gira circulaba por las carreteras suecas a las 6:15 horas de la mañana del 27 de septiembre;[12] Cliff se encontraba durmiendo en la litera asignada a Kirk Hammett (debido a que éste último había perdido en una apuesta jugando naipes),[2] y repentinamente el autobús volcó cerca del pueblo de Ljungby, y cayó sobre el cuerpo del bajista, tras salir despedido por la ventana, causándole la muerte de forma instantánea. Según el conductor, el autobús derrapó debido a las placas de hielo que había en la carretera, lo que ocasionó el vuelco; Hetfield, furioso por lo sucedido, intentó golpear al conductor, siendo detenido por sus compañeros. Posteriormente recorrió una distancia considerable de la carretera buscando las placas, aunque no encontró nada. En el funeral de Burton, se escuchó el tema «Orion».
Monumento en conmemoración de Burton cerca del lugar en el que se estrelló el autobús.
Su muerte provocó la suspensión de la gira de la banda[18] y la retirada de los tres miembros restantes para pensar al respecto de su futuro. Finalmente, y después de consultar a los familiares del desaparecido bajista,[21] decidieron continuar con la carrera musical de la banda, y reclutaron al bajista Jason Newsted de la banda Flotsam and Jetsam, en lugar del desaparecido Cliff, puesto para el cual también optó Les Claypool entre más de 40 músicos.[21] Al año siguiente la banda volvería a Europa para completar la gira con su nuevo bajista.
En su primera actuación con Metallica, Newsted tocó un solo de bajo, lo que provocó un descontento entre los fans de la banda, quienes dijeron que era una falta de respeto hacia Burton.
Garage Days Re-Revisited y ...And Justice For All
En 1987 lanzarían un gran álbum de versiones de las bandas que les influyeron titulado Garage Days Re-Revisited para introducir a Newsted a los fans.[10] El nombre se deriva de las sesiones de grabación de dicho álbum en el garaje de Ulrich.[21] Un año después lanzarían un nuevo disco, titulado ...And Justice for All. Es su álbum más oscuro, con un sonido dominado por ritmos de batería densos y muy acelerados, de gran complejidad. Pese a lo que podría parecer, es un trabajo más melódico que sus predecesores, con un ambiente negativo, y unas letras más cercanas a la crítica social, política e incluso ecológica («Blackened»). Destacan los temas «One» (canción con el primer videoclip grabado por la banda, recogiendo escenas de la película Johnny cogió su fusil;[22] con este videoclip, la banda comenzó a ganar fama en el ámbito mainstream, pero fue perdiendo fans al mismo tiempo, calificándolos como «vendidos»), «To Live Is to Die» (dedicado a Cliff Burton basándose en los bocetos de una canción que se encontraba componiendo en la que se oye un poema compuesto por el desaparecido bajista a pesar de ser un tema instrumental), «...And Justice for All» y «Blackened».
Esta producción marcó un hito en el equipamiento de las guitarras de Metallica, ya que dejan sus full stacks valvulares Marshall, pasando a utilizar la Mesa Boogie, obteniendo un sonido mucho más agresivo.[22] Algunas de las escasas críticas que recibió al disco se basan en, a pesar de la evolución, la escasa calidad en la producción, y el escaso volumen que tiene el bajo, el cual casi no se oye siendo imposible de atisbar en muchos momentos. A pesar de estas características, el álbum ha vendido hasta la fecha más de 8 millones de copias,[1] a pesar de tener una promoción casi nula sin ningún tipo de repercusión en canales de televisión como MTV.[1]
Jason Newsted, bajista de la banda desde 1986 hasta 2001.
Gracias a este trabajo, Metallica recibe su primera nominación a los premios Grammy en 1989, en la categoría de Mejor Interpretación Vocal o Instrumental de Hard Rock/Metal. Contra todo pronóstico, el ganador del premio fue el álbum Crest of a Knave de Jethro Tull, quienes no acudieron a la gala. Lars Ulrich se referiría a ellos después de ganar el Grammy en 1991 en la misma categoría por el álbum homónimo de la formación: «Queremos dar las gracias a Jethro Tull por no haber sacado ningún disco este año».[2] Una anécdota cuenta que el presentador de la ceremonia, el afamado cantante Alice Cooper, quedó realmente impresionado por el vencedor del premio, quedando su sorprendida cara grabada por las cámaras en la entrega del premio.[2]
The Black Album
Su siguiente trabajo, llamado Metallica pero mejor conocido como The Black Album, considerado por la crítica como la obra maestra de Metallica, se haría esperar hasta el año 1991. Fue producido por Bob Rock, conocido por su trabajo con Bon Jovi y Motley Crue, entre otros. Con canciones como «Enter Sandman», «Holier than Thou», «Sad But True», «The Unforgiven», «Wherever I May Roam» y «Nothing Else Matters», vendió más de 500.000 copias en su primera semana en EE. UU., llegando al primer puesto en la lista del Billboard,[23] en parte gracias a su carácter más comercial. Sólo en EE.UU., la RIAA certifica 14 millones de copias vendidas desde su salida a la calle. El nombre popular del disco, The Black Album (El álbum negro), viene de la portada del disco, que sólo contiene el logo de Metallica en la esquina superior derecha y el dibujo de una serpiente en la esquina inferior izquierda, todo ello bajo un fondo negro. Esta portada fue explicada posteriormente por Hetfield, quien dijo que la banda quería que la gente se fijase en la música que contenía el álbum, y no en el simbolismo ni en el diseño artístico.[2]
Posteriormente, la banda realizó la gira Wherever I may roam, que duró 2 años.[1] Después de esta gira, se inició un tour junto a Guns n' Roses, el otro grupo rock que por entonces tenía más éxito. Durante la gira, el 8 de agosto de 1992 en Montreal, Canadá, la actuación de Metallica terminó abruptamente cuando durante la canción «Fade To Black» un fuego artificial explotó debajo de James Hetfield, dejándolo con graves quemaduras.[5] Posteriormente la actuación de Guns N' Roses fue suspendida, debido a la afección de garganta de Axl Rose. La breve actuación de Metallica y la cancelación del show de Guns N' Roses provocaron la ira de los fans, que causaron múltiples destrozos y algunos heridos.[5]
En 1993, la banda editó el box set Live Shit: Binge and Purge, que contiene tres CDs y dos conciertos en vídeo grabados en Ciudad de México, en Seattle y en San Diego.
Load, Reload , Garage Inc. y S&M
Su disco homónimo, conocido popularmente como The Black Album marcaría un punto de inflexión en la carrera musical de Metallica, y sus dos discos consecutivos titulados Load (1996) y ReLoad (1997), de estilos idénticos entre sí ya que estaban pensados para formar un mismo álbum doble,[21] están totalmente dominados por un sonido que muchos antiguos seguidores consideraron como comercial y muy suavizado con letras más suaves, más cercano al rock alternativo que triunfaba en aquella época.[1] Quizás el cambio más llamativo para sus fans fue el cambio de imagen: se cortaron las melenas y cambiaron el fácilmente reconocible logotipo que identificaba a Metallica.[22] Esto se vio también reflejado en el cambio de sello discográfico, ya que las relaciones entre Elektra Records y la banda finalizaron después de casi diez años cobrando sólo un 14% de los beneficios netos de Metallica, aunque acabarían reanudando su contrato poco después.[5] El éxito de ambos álbumes no fue tan contundente como el del álbum negro. Muchos adolescentes se convirtieron en seguidores de Metallica, al mismo tiempo que muchos de sus antiguos fans se veían en gran medida «traicionados» por la nueva dirección tomada por el grupo,[10] lo que desde entonces lleva alimentando una gran polémica.[22] Como curiosidad cabe destacar que las portadas de ambos discos, Load y ReLoad, ilustran una mezcla de semen y sangre de oveja en Load, y una mezcla de sangre de oveja y orina en ReLoad. La idea original es del fotógrafo Andres Serrano, quien tomó además las fotos.[2]
En los premios Grammy entraron por primera vez en la categoría Heavy Rock en vez de Heavy Metal, como ocurría antes del mencionado Load. Ese mismo año la banda finlandesa Apocalyptica debutó con su tributo a Metallica Plays Metallica by Four Cellos, que era básicamente un álbum con covers de Metallica tocados únicamente con violonchelos.
El 1998 realizarían un nuevo trabajo similar a Garage Days Re-Visited titulado Garage Inc., aunque esta vez sería un álbum doble de versiones de temas de estilos bastante diversos que influyeron a la banda en su ya dilatada carrera. Mientras que el primer disco incluía covers grabados para el lanzamiento del álbum, el disco dos contenía íntegros el Garage Days Revisited proveniente del single de «Creeping Death», y el Garage Days Re-revisited, además de varias versiones provenientes de caras B y un extracto del concierto de versiones de Motörhead que Metallica dio en el 50 cumpleaños de Lemmy Kilmister el 4 de diciembre de 1995 en el Whiskey-A-Go-Go. El cover «Whiskey in the Jar» de Thin Lizzy resultó ganador de un premio Grammy en la categoría de Mejor Interpretación de Hard Rock en 2000.
Al año siguiente (1999) grabarían en un concierto en directo, titulado S&M, en colaboración con la Orquesta Sinfónica de San Francisco, dirigida por Michael Kamen, quien había hecho los arreglos de orquesta para «Nothing Else Matters» en The Black Album. En este álbum doble se experimenta la mezcla entre música de canciones de Metallica con arreglos orquestales. Además, se presentarían dos nuevos temas especialmente compuestos para la ocasión, «No Leaf Clover» y «- Human», extrayéndose el primero de ellos como segundo single del disco.
El episodio Napster
En abril de 2000, Metallica demandó a Napster, la compañía creadora del programa homónimo que permitía el intercambio de música en formato MP3, por violación de los derechos de autor,[1] pues una versión de la canción todavía en proceso para la película Misión Imposible II, «I Dissapear», se escuchaba en la radio estadounidense. Dos semanas después, Dr. Dre también demandaba a la empresa. Napster ya había sido acusada por la RIAA en 1999 de violar leyes de propiedad intelectual y servir de asilo para la piratería musical en internet, además de que algunas universidades habían pedido prohibir el programa, pues disminuía la velocidad de sus redes.
Para mayo de 2000, Napster bloqueó las contraseñas de más de 35 mil usuarios proporcionada por Ulrich y que habían obtenido canciones de Metallica.[5] Chuck D., The Offspring, Limp Bizkit y Courtney Love hablaron a favor de Napster y advirtieron sobre la oportunidad que significaba para consumidores y artistas. Para Chuck D., Napster era una reacción, «el fenómeno musical más grande desde los Beatles», «la industria se ha ufanado en guiar a las audiencias; por primera vez los fans han tenido la tecnología antes que la industria».
En su defensa, Napster alegó que servía sólo como conducto de la información. En junio de ese año, la RIAA pidió eliminar de Napster todo el contenido perteneciente a las discográficas más importantes. En septiembre del mismo año, Metallica y Dr. Dre enviaron cartas a Harvard, Columbia y otras universidades para que restringieran el acceso al programa. En octubre, Dave Matthews Band se convirtió en el primer grupo en permitir la distribución de una canción vía Napster, con la venia de su compañía.
La polémica cesaría en julio de 2001, al aplazar la banda todas las denuncias contra Napster alegando que estaba haciendo más mal que bien a la imagen del grupo.[1]
St. Anger y Some Kind of Monster
En 2001 el bajista Jason Newsted, quien anteriormente había tenido serias discusiones con los demás integrantes sobre sus proyectos fuera del grupo, abandonaría Metallica alegando desgaste físico y motivos personales.[10] Poco tiempo después, en la controvertida entrevista realizada por Playboy[24] por separado a todos los miembros de la banda varios meses antes, se descubriría que uno de los principales motivos de la marcha del bajista era la rotunda negativa de Hetfield a la publicación del disco de Echobrain, la banda alternativa de Newsted.[10] Tras un largo casting en busca de sustituto, y en el que se barajaron músicos como Twiggy Ramirez, se contrataría a Robert Trujillo, quien había sido bajista de Suicidal Tendencies, Black Label Society y Ozzy Osbourne en sus actuaciones en directo. Cabe resaltar que Jason Newsted, tras dejar Metallica, perteneció durante un tiempo a la banda de Osbourne, en la que militaba Mike Inez, ex miembro de Alice in Chains y que también se rumoreó como sustituto.[1] Este mismo año se crea la banda tributo satírica, Beatallica, la cual fusiona la música de The Beatles y Metallica. Tuvieron un problema legal con Sony, poseedora de los derechos sobre el material de los Beatles, pero fueron ayudados por Lars Ulrich.[25]
Concierto en Madrid el 22 de junio de 2003.
Antes de la entrada de Trujillo, la banda había grabado el álbum St. Anger, con Bob Rock nuevamente en el puesto de productor. Este último toca el bajo debido a las dificultades para encontrar un nuevo bajista.[26] Como peculiaridades del disco destaca la ausencia absoluta de solos de guitarra, y un sonido de la batería totalmente novedoso e igualmente polémico que radicaba en la caja, la cual tenía un armónico metálico en vez del de madera seca usado hasta entonces. El vídeo de la canción homónima del álbum fue grabado en la prisión de San Quintin.[27] Hubo otras muchas dificultades en la producción del álbum, debidos a motivos como el proceso de rehabilitación de Hetfield, que se había comenzado a tener problemas con el alcohol después de un viaje a Siberia donde, según él, su única bebida era el vodka.
En el 2004 se lanzaría el documental Some Kind of Monster, que narra la producción del St. Anger en medio de discusiones y problemas luego de la salida de Jason y de la rehabilitación de James Hetfield, de quien ya se conocía su pasión por el alcohol.[27] En el documental hacen aparición Jason Newsted y su banda Echobrain (Lars y Kirk acuden a una de sus presentaciones, se dirigen hacia los camerinos y cuando llegan, Jason ya se había ido) y uno de sus primeros guitarristas del grupo, Dave Mustaine, quien charla con Lars acerca de temas como su estancia en Metallica y su carrera en Megadeth.
Death Magnetic
En el 2006, la banda realizó el tour Escape from the studio 06, en el que tocaron el disco Master of Puppets entero en conmemoración de su vigésimo aniversario. Durante este tour, la banda tocó dos nuevas canciones: «New Song (Death is not the End)» y «The Other New Song (Vultorous)».[27]
El 4 de diciembre del 2006 fue lanzada una compilación de todos sus vídeos desde 1989 hasta 2004, titulada The Videos. Esta incluye todos sus vídeos desde «One» hasta «Some Kind of Monster» y, como bonus, las dos versiones del vídeo de «One», la version teatral de «The Unforgiven» de once minutos, el tráiler del documental Some Kind of Monster y además, por primera vez en DVD, la introducción de 2 of One. También Kirk y James aparecieron en el programa Metalocalypse y la banda entera en Los Simpson, quienes además aparecerían en la película Get Thrashed. Un año más tarde, el grupo grabó el cover de Ennio Morricone «The Ecstacy of Gold», el cual apareció en el disco tributo We All Love Ennio Morricone. Luego, en los meses de junio y julio realizaron la gira Sick Of The Studio 07.
La banda comenzó a grabar el álbum Death Magnetic el 14 de marzo de 2007. Éste cuenta con Rick Rubin como productor, reemplazando a Bob Rock, que había ocupado dicho puesto desde hace más de 15 años. El álbum es finalmente lanzado el 12 de septiembre de 2008. Se han establecido algunas citas para su gira en 2008, y anteriormente, participaron en el Electric Weekend de Getafe, siendo cabezas de cartel junto con Rage Against the Machine. Además, la banda participó en un álbum tributo a Iron Maiden, Maiden Heaven[28] , interpretando la canción «Remember Tomorrow» junto a bandas como Avenged Sevenfold o Dream Theater. Metallica, en la actualidad, ha vendido más de 100 millones de álbumes y posee una estrella en el paseo de la fama en Hollywood.[29]
La página oficial ha confirmado que el grupo ha sido nominado por sus 25 años de carrera junto con otros 8 candidatos a ocupar un lugar en el Rock 'N Roll Hall Of Fame además de que fue nominado en 2 categorías (Rock Out y Headliner) en los MTV Europe Music Awards así como invitado para tocar en vivo dentro de Los Premios a la Música de Latinoamérica de MTV, los cuales se llevaron a cabo dentro del Auditorio Telmex en Guadalajara, Jalisco, México.[30]
Sonido e influencias
A pesar de que en un principio Metallica tocaba un estilo muy cercano al thrash metal, especialmente en Kill'em All, a lo largo de los años se ha ido desmarcando de esta posición, especialmente a partir de Metallica (The Black Album), en el que tomaron un sonido más comercial para acercarse al mainstream.[1] Sin embargo, el cambio más importante se da a partir de 1996, con la publicación de Load, en el que se puede oír un sonido mucho más arreglado y cercano al hard rock y al rock alternativo, además de poder apreciarse el claro cambio estético de la banda, mucho más pulcramente vestidos abandonando sus melenas y sus vaqueros rotos y desgastados.[22] Esto sigue dividiendo a los fans hoy en día.[2] Con la publicación de St. Anger, el grupo se orienta hacia un estilo más cercano al nu metal y al metal alternativo, presentando un sonido mucho más duro y agresivo que en sus anteriores trabajos.
Las influencias musicales del grupo se pueden apreciar en el disco de versiones Garage Days Re-Visited, donde versionan canciones de bandas como Diamond Head, posiblemente su mayor influencia, o The Misfits, aunque también hay que incluir dentro de sus influencias bandas como Black Sabbath, UFO, Motörhead, Judas Priest o Iron Maiden.[22]
Polémicas
Sonido y estética
Con la publicación del álbum Ride the Lightning, muchos fans quedaron desencantados por la balada «Fade to Black», ya que para los más puristas seguidores de la formación, las bandas de thrash metal no deberían componer canciones orientadas hacia el «mainstream» como es el caso de dicho tema; sin embargo, con la publicación del álbum homónimo de la banda, dicha polémica se recrudece debido al sonido más comercial presente en el disco, ya que en los trabajos anteriores de la banda el sonido pesado y oscuro dominaba la gran mayoría de los temas. El cambio de sonido del grupo vino de la mano de Bob Rock, el productor del disco, quien había trabajado anteriormente con bandas como Bon Jovi o Motley Crue, todos ellos con una gran cantidad de discos vendidos a sus espaldas. A pesar de dicha polémica, éste fue el trabajo más exitoso en ventas de la banda, con más de 7 millones de copias vendidas sólo en EE. UU.,[1] a pesar de que muchos seguidores los calificasen como «vendidos».[10]
Aún con Bob Rock en sus filas, el grupo graba Load y ReLoad, dos discos que presentan un sonido mucho más accesible al público en general, lo que acabó por romper las relaciones de los seguidores más intransigentes de la formación dado el carácter cercano al hard rock de ambos trabajos.[10] Además, el hecho de que la banda encabezase festivales alternativos como Lollapalooza ayudó a que ganasen detractores.[24] St. Anger proporcionaba un sonido mucho más duro bajo la producción nuevamente de Bob Rock, quien además toca el bajo debido a la dificultad de la banda por encontrar un bajista que supliese la marcha de Jason Newsted. Este álbum tampoco convenció a la mayoría de los fans debido a su orientación hacia el nu metal, a la escasez del virtuosismo de Kirk Hammett, quien no realiza ningún solo en todo el disco, y al sonido de la batería.
Jason Newsted
Artículo principal: Jason Newsted
Artículo principal: Voivod
Jason Newsted se introdujo en la banda como sustituto del fallecido Cliff Burton, idolatrado por los fans, por lo que muchos de estos seguidores no vieron con buenos ojos la llegada de otro bajista al seno del grupo. Además, su manera de tocar fue criticada al ser comparada con el virtusismo de Burton, ya que éste último tocaba el bajo con los dedos en lugar de con una púa, como hacía Newsted. Después de su llegada, el grupo publicó ...And Justice for All, en el cual el sonido del bajo de Newsted resulta casi inaudible. En una ocasión, durante la gira de presentación de dicho trabajo, los restantes miembros del grupo arrojaron todos sus objetos personales por la ventana del hotel en el que se alojaban.[24] Además, se rumoreó entre los fans que Newsted era homosexual, algo que no era cierto.[24] Según sus propias declaraciones, Newsted explicó: «Era mi sueño hecho realidad. Si vas a llenar los zapatos de Cliff Burton, tienes que ser resistente».[24] Éste recibió numerosas críticas por ello, que recibió con paciencia hasta el año 2001, en el que decide abandonar la banda para ingresar en Voivod y, posteriormente, fundar su propio proyecto, que llamó Echobrain. Su sustituto fue Robert Trujillo, que añadió al grupo un sonido más duro al haber pertenecido a bandas de hardcore como Suicidal Tendencies o Infectious Grooves, aunque quizá el factor principal para la contratación de Trujillo fuese su estilo de tocar el bajo, con los dedos al igual que Burton. James Hetfield diría en una entrevista que "sus dedos parecían púas, eran como los de Burton".[13] En unas declaraciones posteriores a su salida de la banda, Newsted expuso: «Metallica tiene dos monstruos que controlan, y es muy difícil conseguir algo bueno en ese monopolio».[31]
Dave Mustaine
Artículo principal: Megadeth
Artículo principal: Dave Mustaine
Dave Mustaine, ex-guitarrista de Metallica y luego fundador de Megadeth, en un concierto con dicha banda en 2005.
La más famosa controversia en la carrera de la banda vino dada por el despido de Dave Mustaine, primer guitarrista del grupo y luego fundador de Megadeth, después de conductas violentas e irresponsables en el seno de la banda.[32] En 1983, en Nueva York, Mustaine tiene un accidente de furgoneta cuando la banda iba a reunirse con el productor Jon Zazula, siendo despedido y embarcado en un viaje de dos días hasta Los Ángeles, durante el cual decide fundar una nueva banda para vengarse de su despido. Declaró: «Después de ser despedido de Metallica, todo lo que recuerdo es que quería sangre, la suya. Quería ser más rápido que ellos».[33] Poco antes de éste, Mustaine tuvo varios problemas con Ron McGovney, primer bajista de Metallica, que acabaron con la marcha de éste antes de la salida del guitarrista. En aquel momento, Mustaine provocaba todo tipo de contratiempos a los restantes miembros del grupo debido a su adicción al alcohol y a las drogas, con lo que fue despedido de Metallica, introduciendo ésta a Kirk Hammett. Las hostilidades entre Megadeth y Metallica duraron varios años. En una entrevista realizada a James Hetfield en 1999, éste dijo: «No somos enemigos y no somos amigos, y creo que es mejor dejarlo así. Durante aquellos años todos estábamos borrachos y pasándolo bien, pero él lo llevó todo demasiado lejos. Era una persona realmente excesiva que tenía que llevarlo todo al límite, lo que incluía el alcohol y las drogas.»[34]
Cuando la banda le pidió a Mustaine que apareciese una entrevista entre él y Lars Ulrich en el documental Some Kind of Monster de 2004, el guitarrista se negó a ello, pero Metallica incluyó dicha entrevista. Mustaine dijo que eso fue "la traición final", y ha abandonado la esperanza de grabar algo o reaundar amistad con los miembros de la banda.[35]
Miembros
James Hetfield - Voz / Guitarra rítmica (1981 - presente)
Lars Ulrich - Batería (1981 - presente)
Kirk Hammett - Guitarra principal (1983 - presente)
Robert Trujillo - Bajo (2003 - presente)
Anteriores
Lloyd Grant - Guitarra líder (1981 - 1982)
Ron McGovney - Bajo (1982)
Dave Mustaine - Guitarra líder (1982 - 1983)
Cliff Burton † - Bajo (1982 - 1986)
Jason Newsted - Bajo (1986 - 2001)
La siguiente es una lista de álbumes, E.P., sencillos y compilaciones de la banda estadounidense de Thrash Metal Metallica.
Contenido
1 Discografía
1.1 Álbumes De Estudio
1.2 Maquetas
1.3 E.P.
1.4 VHS/DVD
1.5 VHS/DVD No Oficiales
1.6 Boxsets
1.7 Fan Cans
1.8 Compilaciones
2 Otras canciones
2.1 Demos
2.2 Otras
2.3 Singles
3 Videografía
4 Véase también
5 Referencias
//
Discografía [editar]
Álbumes De Estudio [editar]
Kill 'em All (1983)
Ride the Lightning (1984)
Master of Puppets (1986)
... And Justice For All (1988)
Metallica (1991)
Load (1996)
ReLoad (1997)
St. Anger (2003)
Death Magnetic (2008)
Maquetas [editar]
Ron McGovney's '82 Garage Demo (1982)
Power Metal Demo (1982)
No Life 'til Leather (Bay Area Thrashers) (1982)
Live Metal Up Your Ass (1982)
Horsemen Of The Apocalypse (1983)
Megaforce Demo (1983)
Ride The Lightning Demo (1983)
Master Of Puppets Demo (1985)
HARVESTER OF SORROW b-side demo (1988)
..AND JUSTICE FOR ALL demo (1988)
METALLICA demos (1991)
E.P. [editar]
Garage Days Re-Revisited (The $5.98 E.P.) (1987)
Some Kind Of Monster (2004)
The Unnamed Feeling E.P. (2004)
VHS/DVDCliff 'em All! (The $19.98 Home Vid) (1987) VHS y DVD
2 of One (1989) VHS
A Year and a Half in the Life of...Part 1 & 2 (1992) VHS y DVD
Cunning Stunts (1998) VHS y DVD
S&M (1999) VHS y DVD
Classic Albums: Metallica - Metallica (2001) DVD
Metallica: Some Kind of Monster (2005) VHS y DVD
The Videos 1989-2004 (2006) DVD
VHS/DVD No Oficiales [editar]
Guitar Method: In The Style Of Metallica - 40 Killer Riffs (1996) VHS (2003) DVD
Guitar Method: In The Style Of Metallica (1998) VHS (2004) DVD
Rock Warriors Unauthorized (2003) DVD
Dark Souls: Unauthorized Documentary (2003) DVD
Metallimania (2005) DVD
Metallica - Music Video Box Documentary DVD (2006) DVD
Metallica: Reflections DVD/Book (2006) DVD
Metallica - Kill 'Em All to St. Anger (2006) DVD
Boxsets [editar]
Live Shit: Binge & Purge (1993) VHS y DVD
Re-Fuel (1999)
Garage Days (1999)
Garage Inc (1998)
Hero of the Day (1999)
S&M (2000)
Limited-Edition Vinyl (2004)
Fan Cans [editar]
Fan Can 1: Stupid Sh*t (1996)
Fan Can 2: En vivo en "Slim´s club" San Francisco, CA. (1996)
Fan Can 3: En vivo en "Blindman´s ball" Sttutgart, Alemania (1997)
Fan Can 4: En vivo en "Reunion Arena", Dallas. (1999)
Fan Can 5 (2006)
Compilaciones [editar]
Metal Massacre (1982)
The Good, the Bad and the Live (1990)
Rubaiyant: Elektra's 30th Anniversary (1990)
For Those About To Rock (1992)
Woodstock '94 (1994)
Spawn: The Album (1997)
WCW: Mayhem The Music (1999)
Woodstock '99 (2000)
M:I-2 (Mission impossible 2) (2000)
NASCAR: Full Throttle (2001)
A Tribute to the Ramones: We're A Happy Family (2003)
I've Always Been Crazy: A Tribute to Waylon Jennings (2003)
The Bridge Collection (2006)
We All Love Ennio Morricone (2007)
Maiden Heaven (2008)
Otras cancioneDemos [editar]
Hit the Lights tema demo interpretado por Ron McGovney y Lloyd Grant en 1981.
The Mechanix nombre demo de The Four Horsemen, apareció en el demo "No Life 'til Leather". Fue lanzada con el mismo nombre por Megadeth.
When Hell Freezes Over nombre demo de The Call of Ktulu.
Moudly nombre demo de Hero of the Day. Apareció en el single de "Hero of the Day".
F.O.B.D. (Fell on black days) nombre demo de Until it Sleeps. Apareció en el single de "Until it Sleeps".
Streamline nombre demo de Wasting my Hate.
Outlaw nombre demo de Outlaw Torn.
Bitch nombre demo de Ain't My Bitch.
Load nombre demo de King Nothing.
Mine Eyes nombre demo de Low Man's Lyric.
Skimpy nombre demo de Carpe Diem Baby.
Memory nombre demo de The Memory Remains.
Fuel for Fire nombre demo de Fuel con diferente letra, usada en el soundtrack de Nascar.
Plod nombre demo de - Human.
Dead Kennedy Rolls, tema demo de las sesiones de composición de St Anger. Aparecido en un video de www.metallica.com.[1] Finalmente no formó parte del tracklist.
Temptation tema demo de las sesiones de composición de St Anger, aparece en el DVD "Some Kind of Monster". Finalmente no formó parte del tracklist.
Shadow of the Cross tema demo de las sesiones de composición de St Anger. Finalmente no formó parte del tracklist.
New Song canción nueva estrenada el 6/6/06 en Alemania, probablemente formara parte del tracklist del nuevo álbum. También es llamada "Death is not the end".
The Other New Song canción nueva estrenada el 12/8/06 en Japón, probablemente formara parte del tracklist del nuevo álbum. También es llamada "New Song II" y "Vulturous".
De Wikipedia, la enciclopedia libre
Saltar a navegación, búsqueda
Metallica en un concierto en Londres, 2006. De izquierda a derecha: Kirk Hammett, Lars Ulrich, James Hetfield y Robert Trujillo.
Información general
Personal
Origen
Los Ángeles, California, Estados Unidos
Artística
Estilo
Thrash metal[1]Heavy metal[1]Speed metal[1]Hard rock[1]
Período de actividad
1981 – presente
Discográfica(s)
Warner Bros., Elektra, Vertigo, Megaforce
Artistas relacionados
MegadethEchobrainExodusFlotsam and JetsamVoivodSuicidal Tendencies
Web
Sitio web
http://www.metallica.com/
Miembros
James HetfieldLars UlrichKirk HammettRobert Trujillo
Antiguos miembros
Cliff Burton †Dave MustaineRon McGovneyJason NewstedLloyd Grant
Metallica es una banda de heavy metal originaria de Estados Unidos. Fue fundada en 1981 en Los Ángeles por el danés Lars Ulrich y James Hetfield, a los que se les unirían Lloyd Grant y Ron McGovney. Estos dos músicos fueron después sustituidos por el guitarrista Dave Mustaine y el bajista Cliff Burton, respectivamente. Mustaine fue despedido un año después de ingresar en la banda debido a su excesiva adicción a las drogas y al alcohol, y fundó la banda Megadeth, siendo sustituido en Metallica por Kirk Hammett. Por otra parte, en 1986, la muerte de Cliff Burton en un accidente de autobús en Suecia provocó la entrada al grupo de Jason Newsted,[2] que, quince años más tarde, sería sustituido tras su deserción por el bajista actual de la banda, Robert Trujillo.
Hasta la fecha, la banda ha editado nueve discos de estudio. Las ventas totales de Metallica superan los 100 millones,[3] y son considerados uno de los cuatro grandes del thrash metal junto con Anthrax, Slayer y Megadeth.[4] Además, el grupo ha conseguido numerosos premios musicales, entre los que destacan siete Grammys, dos premios otorgados por la cadena musical MTV, dos galardones de la Academia de Música Americana y un premio de la revista Billboard, y posee una estrella en el paseo de la fama de la revista Kerrang!.
Comienzos
Primeros contactos
Se puede considerar que la historia de Metallica comenzó en 1980 cuando un joven danés llamado Lars Ulrich se traslada junto con su familia a Los Ángeles. Hijo del tenista profesional Torben Ulrich,[5] había desarrollado una enorme afición por el heavy metal durante los '70, cuando la NWOBHM (New Wave Of British Heavy Metal, Nueva Ola de Heavy Metal Británico) reinaba en la escena underground europea, y con su traslado a Estados Unidos, en principio previsto por su padre con el objetivo de la preparación de una carrera dentro del tenis profesional, dicha afición se convertiría prácticamente en una obsesión, sobre todo centrada en los grupos más desconocidos de la nueva corriente inglesa. Su prioridad al llegar a Los Ángeles, lejos de centrarse en el tenis, sería la de explotar su capacidad musical junto con otros jóvenes. Esto le llevaría en 1981 a publicar un anuncio en la revista Recycler solicitando un guitarrista para formar una con influencias de las bandas de la NWOBHM,[6] centrándose concretamente en sus bandas preferidas: Diamond Head, Motörhead y Iron Maiden. Otro joven llamado James Hetfield, hijo de un propietario de una compañía de camiones y de una cantante de ópera y educado con una estricta formación cristiana,[5] respondió a su anuncio. Tuvieron lugar entonces los primeros ensayos conjuntos, y aunque al principio a Hetfield no le convencía la forma de tocar de Ulrich,[7] acabaron formando un grupo. La clave de esta unión fue el tema que Lars tenía reservado por parte de su amigo Brian Slagel, fundador de la por entonces recién creada compañía discográfica Metal Blade Records, en el primer recopilatorio que editaría el sello, titulado Metal Massacre.[8]
El nombre del grupo fue ideado por un amigo de Lars llamado Ron Quintana,[9] quien barajaba «Metalmania» y «Metallica» como posibles nombres para un nuevo fanzine musical, aunque se inclinaba más por el segundo. A Ulrich le gustó tanto este último que rápidamente le recomendó (a Quintana) el primero para poder usarlo él.[10]
Primera formación del grupo y primeras canciones
Ulrich se trasladó al local que Hetfield poseía junto a su amigo Ron McGovney, el cual provenía de una familia acomodada que poseía numerosas propiedades. Hetfield le pidió a McGovney que tocara el bajo en la banda y se ofreció a enseñarle. Además, Ron fue el diseñador del ya famoso logotipo de la banda.[2] Tras incesantes intentos de conseguir un guitarrista líder influido por Motörhead y Iron Maiden, encontraron a Lloyd Grant, un joven guitarrista afroamericano con quien tocaron la primera demo de Metallica, titulada Hit the Lights (1981). Lloyd, que no pensaba quedarse mucho tiempo en la banda, fue al poco tiempo sustituido por Dave Mustaine en la guitarra líder, completando así la primera alineación de Metallica, ya que en Mustaine encontraron a la persona ideal para cerrar la formación. El primer paso fue la grabación del tema para la primera entrega de Metal Massacre. El elegido sería «Hit the Lights», tema que provenía de la anterior banda de Hetfield, Leather Charm, en una versión bastante alejada de la que un año más tarde aparecería en el primer álbum oficial del grupo.
El debut de Metallica en directo tendría lugar el 14 de marzo de 1982 en el club Radio City de Anaheim, en una actuación en la que la falta de experiencia sobre el escenario ocasionó serios problemas a la banda.[2] Dos semanas más tarde tendrían la oportunidad de enmendar su error abriendo dos noches seguidas para los ingleses Saxon en el local Whiskey-A-Go-Go de Los Ángeles. Cabe decir que dentro del libreto del álbum de versiones que la banda realizó en 1998 titulado Garage Inc pueden encontrarse reproducidas las notas que el propio Ulrich tomó en aquel momento sobre la marcha de estos dos conciertos, incluyendo los setlists de ambas noches y las impresiones del baterista sobre la marcha de las mismas.
La decepción que ocasionaron a la banda estos dos malos conciertos hicieron que se replanteasen la contratación de un vocalista mientras Hetfield y Mustaine fuesen los dos guitarristas de la banda. Para ello se contrató a Sammy Dijon, ex vocalista de la banda Ruthless, quien realizó algunas pruebas pero que no fue finalmente admitido en el seno del grupo, por lo que fue despedido.[2] En abril de 1982 se contrató a otro guitarrista, Damien Phillips (de nombre real Brad Parker), para actuar como tal mientras Hetfield se concentraba delante del micrófono, pero también fue despedido después de su primera actuación con la banda debido a la negativa de Mustaine a que hubiese un tercer guitarrista.[2] Posteriormente se barajaron varios cantantes, entre los cuales estaban John Bush, futuro vocalista de Armored Saint, y Jesse Cox de Tygers of Pan Tang. Ninguno fue admitido, motivo por el que Hetfield pasó a encargarse tanto de la segunda guitarra como de la voz desde aquel momento. En un ensayo realizado en la antigua escuela de Lars Ulrich, el vocalista fue Jeff Warner, del que se cuenta que no fue aceptado porque desafinaba demasiado[2] .
Formación definitiva de la banda
Con la edición de Metal Massacre en el mes de junio de, el grupo, tras renegar de la versión de «Hit the Lights» aparecida en el mismo por encontrarse completamente desfasada de lo que constituía su nuevo sonido, decidió grabar su primera demo, titulada No Life 'til Leather probablemente en una alusión al álbum de Motörhead No Sleep 'til Hammersmith. Siete temas formarían parte de esta demo, entre los que se encuentra una versión mucho más potente y acelerada de «Hit the Lights». Con una agenda de conciertos cada vez más ajustada, Hetfield y Ulrich comenzaron a plantearse la sustitución de McGovney. Años después, éste dijo en una entrevista que el resto de la banda le dejaba que se encargara de todo. Es en ese momento cuando empiezan a aparecer los problemas con Dave Mustaine, derivados de un carácter extremadamente violento unido al consumo extremo de alcohol y drogas.[11] Conocedor de la necesidad de Metallica de reclutar un nuevo bajista, Brian Slagel recomienda a Lars y James la banda Trauma, que acababa de editar uno de sus temas en la segunda entrega de Metal Massacre. Hetfield y Ulrich quedarían totalmente impresionados con la destreza y presencia en el escenario de su bajista, Cliff Burton, ofreciéndole inmediatamente el entrar a formar parte de Metallica, lo cual sería inicialmente rechazado por Burton.[8]
Kirk Hammett.
Aún con McGovney en sus filas, la banda grabaría el 29 de noviembre del mismo año (1982) una demo en directo en el The Waldorf de San Francisco, que recibiría el nombre de Live Metal Up Your Ass y en la que estrenarían el tema «Whiplash», inédito hasta entonces. El concierto tendría como teloneros a Exodus, cuyo guitarrista líder, un joven Kirk Hammett, causaría una gran impresión en James y Lars, que ante los crecientes problemas con Mustaine comenzaron a considerarlo como un reemplazo perfecto. Poco tiempo después McGovney decidió dejar Metallica al oír que habían estado estableciendo contactos con Cliff Burton,[12] , para incorporarse a Phantasm, al contrario de la creencia popular de que fue despedido. Posteriormente declaró: «Nunca escuché 'Estás despedido' o algo así de parte de ellos. Yo renuncié, aunque es obvio que, aunque no hubiera renunciado, me iban a despedir de todas maneras». Al mismo tiempo, Cliff Burton, quien estaba teniendo problemas con Trauma debido a la dirección que el resto de los integrantes querían tomar con respecto a su música, decidió pasarse a las filas de Metallica. La única condición no negociable que puso el bajista fue que la banda se trasladase a San Francisco, donde los nuevos sonidos relacionados con el thrash comenzaban a generar una legión de seguidores que recibió el nombre de «Bay Area Bangers». En cualquier caso, Hetfield, Ulrich y Mustaine ya estaban pensando en mudarse a San Francisco, puesto que habían observado la energía y el entusiasmo de la escena thrash de esa ciudad, además de porque la escena de Los Ángeles estaba dominada por el cada vez más famoso glam metal, con bandas como Motley Crue y Ratt.
Kill 'em All
A principios de 1983 el manager y promotor de conciertos Johnny Zazula (con la ayuda de su mujer) se puso en contacto con el grupo para ofrecerles un traslado a Nueva York, con la idea de organizar varios conciertos en la Costa Este y, si todo marchaba bien, grabar un álbum.[6] Tras aceptar la oferta, Metallica inició el viaje el 1 de abril, y tras atravesar todo el país, fijaron su nuevo lugar de residencia en el Music Building de Nueva York, un edificio en el que cohabitaban con varias bandas de rock, entre las que se encontraba Anthrax, iniciando amistad y camaradería entre los dos grupos.[2]
A los diez días de su llegada a Nueva York, la situación con Mustaine se hizo insostenible, con lo que Hetfield y Ulrich sorprendieron a un Mustaine recién despierto para anunciarle que estaba fuera del grupo y que en un breve plazo salía el autobús que habían reservado para su vuelta a casa (posteriormente Dave fundaría Megadeth).[13] Para algunos, el factor que fue finalmente decisivo para la expulsión de Mustaine fue el accidente de furgoneta que éste provocó al conducir ebrio en el trayecto que llevó al grupo de San Francisco a Nueva York.[14] Los integrantes ya estaban preparados para esto. Le pidieron a Zazula que se pusiese en contacto con el guitarrista de Exodus, Kirk Hammett, para unirse a la banda. Al principio, Kirk creía que la llamada de Zazula era una broma, pero finalmente aceptó.[12] De forma simultánea a la expulsión de Dave, Kirk Hammett dejaba Exodus y se disponía a salir hacia Nueva York, llegando esa misma noche a altas horas de la madrugada. Alumno de Joe Satriani, Hammett introduciría un sonido más melódico, técnico y estilizado en Metallica, que se haría patente a partir del segundo álbum del grupo, puesto que el primero estaba compuesto en su totalidad en el momento de su entrada. El debut del nuevo guitarrista tendría lugar en el neoyorquino «Showplace» abriendo para The Rods.
Tras un mes de ensayos, Metallica entraría finalmente el 10 de mayo en los «Music America Studios» para grabar su primer álbum.[6] El tracklisting sería prácticamente igual que el de No Life 'til Leather, incluyendo como novedades el tema «Whiplash», ya aparecido en Live Metal Up Your Ass, y el solo de bajo que Burton solía ejecutar en los conciertos,[15] bajo el nombre de «(Anesthesia) Pulling Teeth». Además, también se incluiría una versión remozada del tema «The Mechanix», añadiendo nuevos riffs y rebautizándola como «The Four Horsemen».[16] La producción correría a cargo de Paul Curcio, propietario de los estudios e ingeniero residente. Su trabajo levantó suspicacias por parte del grupo debido a la diferencia de criterios con respecto al sonido del álbum que quería imprimirle la banda.
Tras seis semanas, el primer trabajo de Metallica sería lanzado en el mes de julio bajo el nombre Kill 'em All. Dicho nombre (Mátalos a Todos) provenía de una frase del Cliff Burton a causa del enfado que produjo en el grupo la negativa de diversas distribuidoras de discos a comercializar el álbum con el título que el grupo quería darle, Metal Up Your Ass (Metal por el culo).[10] [2] Zazula, incapaz de encontrar una compañía discográfica interesada en publicar el disco, optó finalmente por la fundación de un sello propio, Megaforce Records. Se consiguió la cifra de 17.000 copias vendidas en las dos primeras semanas,[17] y sobre todo, Kill 'em All contribuyó notablemente a extender la buena reputación de Metallica, recibiendo una avalancha de críticas favorables por parte de la prensa, que ya comenzaba a verlos como los iniciadores de una nueva corriente en el metal.[1] Posteriormente, la cifra de copias vendidas del disco llegaría hasta las 300.000.[18]
Como forma de promoción, Zazula organizaría un tour conjunto con Raven que los llevaría por todo Estados Unidos, constando de 35 fechas y bautizado como Kill 'em All For One Tour (el álbum que Raven se encontraba promocionando se llamaba All For One). Posteriormente, y tras varios conciertos en San Francisco, Nueva York y Boston, y prácticamente coincidiendo con la edición en Europa del single «Jump in the Fire» por parte del sello Music for Nations, el 3 de febrero de 1984 se inició la gira europea Seven Dates of Hell, en la que se encargan de abrir para los ingleses Venom, teniendo como momento cumbre la participación en el Aardshock Festival en Holanda, tocando ante más de 5.000 personas, la audiencia más grande que habían tenido hasta el momento.[12]
Ride The Lightning
Terminada la gira, Metallica entraría el 20 de febrero en los Sweet Silence Studios de Copenhague para la grabación de su segundo álbum, recayendo todo el peso de la producción en el ingeniero residente Fleming Rasmussen,[6] quien ya había trabajado anteriormente con bandas como Mercyful Fate y Rainbow y posteriormente con Sepultura y Blind Guardian. El ajustado presupuesto del que Zazula disponía se convirtió en el principal problema durante la grabación del álbum, que transcurrió a un ritmo frenético durante menos de un mes, quedando finalizada el 14 de marzo, y viéndose sólo interrumpida por el fallido tour Hell On Earth junto a The Rods y Exciter, finalmente cancelado por la escasa venta de entradas. Con este nuevo trabajo, Metallica tendría que afrontar por primera vez críticas provenientes de sus propios fans debido a la filtración de cuatro temas del álbum en forma de demo de trabajo, concretamente «Fight Fire With Fire», «Creeping Death», «Ride the Lightning» y la experimental e instrumental «When Hell Freezes Over», primer nombre de la después conocida como «The Call of Ktulu». A la considerable evolución mostrada en estos temas se unía el rumor latente de que el grupo estaba trabajando en una balada, lo que provocó cierta agitación dentro del sector más extremo de los fans de la banda.
Actuación de Metallica en 1986 en la gira Damage Inc.
Ride the Lightning, nombre que recibiría finalmente el álbum, supondría un gran cambio en el sonido de la banda, que se adentraba en terrenos mucho más melodicos y sinfónicos. Las labores de composición contaron con la colaboración de Burton y Mustaine, incluyendo este último varios riffs en temas como «Creeping Death», canción editada por Hetfield con una letra sobre las diez plagas de Egipto; es el solo más agradable según el guitarrista, que en su interludio tomaba el riff y la línea vocal del tema «Die By My Hand». También se confirmó el rumor la inclusión de una balada, que recibiría el título de «Fade to Black», y cuya letra trataba acerca del suicidio. Fue escrita por Hetfield inspirándose en el robo de equipo que la banda sufrió el 14 de enero de aquel mismo año (1984),[19] y vista por cierta parte de los primeros seguidores como una traición por parte de la banda, a la que tildaron abiertamente como «vendida».
La primera aparición de la banda en los escenarios tras la grabación tendría lugar en dos sold-out en el londinense Marquee, tras lo cual se harían diversos conciertos en Alemania, Holanda y Bélgica. El momento más importante de este tour llegaría el 3 de agosto en el «Roseland» de Nueva York, donde tendrían un primer contacto con el sello Elektra Records, y en el que, tras el concierto, iniciarían las negociaciones con Peter Mensch y Cliff Burnstein de la agencia Q-Prime, la cual finalmente acabaría comprando el contrato de Metallica a Johnny Zazula. Probablemente es este hecho el que fomentaría las conversaciones de la banda con Elektra, que acabaría fichándolos el 12 de septiembre tras firmar un contrato en el que se otorgaba al grupo el control artístico absoluto sobre su carrera.
El primer movimiento de Elektra tras reclutar a Metallica sería reeditar Ride the Lightning bajo su sello el 19 de noviembre, a la vez que Music for Nations, con la que Zazula tenía un acuerdo aún vigente tras el fichaje por Elektra, edita en Europa el single «Creeping Death», que contendría la suite The Garage Days Re-visited, formada por las versiones «Am I Evil?» y «Blitzkrieg» de Diamond Head. A su vez, se inicia un nuevo tour europeo, esta vez coordinado por Q-Prime con Robert Allen como manager de la gira, que dio comienzo en la francesa ciudad de Rusen el 16 de noviembre y finalizó en el London Lyceum de Londres el 20 de diciembre tras haber visitado Francia, Alemania, Dinamarca, Suecia, Suiza, Italia, Finlandia e Inglaterra con un enorme éxito de público.
Finalizada la gira europea, y tras un descanso por Navidad, Metallica inició el 11 de enero de 1985 un tour por Estados Unidos y Canadá junto a Armored Saint y los WASP de Blackie Lawless, con quienes la banda tuvo varios roces debido al supuesto ego de dicho frontman. Sería durante esta gira cuando la banda comienza a ser conocida como «Alcoholica» por sus excesos con el alcohol. A esto se uniría el cartel que colocaron en dicho autobús, «No se ría, señor. Su hija probablemente esté dentro», que daba una idea de la actitud desenfadada del grupo. Tras más de tres meses en la carretera, la gira tendría su final en el Starry Night Club de Portland.
Master of Puppets y la muerte de Cliff
Pasados dos años de gira, volvieron a los Sweet Silence Studios. De allí surgió Master of Puppets, uno de los discos más alabados dentro del heavy metal,[1] cuya canción principal homónima está considerada por muchos fans como la mejor de Metallica. El disco ha vendido hasta la fecha más de 7 millones de copias en todo el mundo, a pesar de que sólo llegó en su día al puesto 29 del Billboard.[20]
La gira de presentación del disco comenzó en verano de 1986 con el guitarrista rítmico John Marshall, ya que Hetfield se había roto el brazo en un accidente de skateboard.[2] En dicha, esta vez en Europa y con Hetfield recuperado, el autobús de la gira circulaba por las carreteras suecas a las 6:15 horas de la mañana del 27 de septiembre;[12] Cliff se encontraba durmiendo en la litera asignada a Kirk Hammett (debido a que éste último había perdido en una apuesta jugando naipes),[2] y repentinamente el autobús volcó cerca del pueblo de Ljungby, y cayó sobre el cuerpo del bajista, tras salir despedido por la ventana, causándole la muerte de forma instantánea. Según el conductor, el autobús derrapó debido a las placas de hielo que había en la carretera, lo que ocasionó el vuelco; Hetfield, furioso por lo sucedido, intentó golpear al conductor, siendo detenido por sus compañeros. Posteriormente recorrió una distancia considerable de la carretera buscando las placas, aunque no encontró nada. En el funeral de Burton, se escuchó el tema «Orion».
Monumento en conmemoración de Burton cerca del lugar en el que se estrelló el autobús.
Su muerte provocó la suspensión de la gira de la banda[18] y la retirada de los tres miembros restantes para pensar al respecto de su futuro. Finalmente, y después de consultar a los familiares del desaparecido bajista,[21] decidieron continuar con la carrera musical de la banda, y reclutaron al bajista Jason Newsted de la banda Flotsam and Jetsam, en lugar del desaparecido Cliff, puesto para el cual también optó Les Claypool entre más de 40 músicos.[21] Al año siguiente la banda volvería a Europa para completar la gira con su nuevo bajista.
En su primera actuación con Metallica, Newsted tocó un solo de bajo, lo que provocó un descontento entre los fans de la banda, quienes dijeron que era una falta de respeto hacia Burton.
Garage Days Re-Revisited y ...And Justice For All
En 1987 lanzarían un gran álbum de versiones de las bandas que les influyeron titulado Garage Days Re-Revisited para introducir a Newsted a los fans.[10] El nombre se deriva de las sesiones de grabación de dicho álbum en el garaje de Ulrich.[21] Un año después lanzarían un nuevo disco, titulado ...And Justice for All. Es su álbum más oscuro, con un sonido dominado por ritmos de batería densos y muy acelerados, de gran complejidad. Pese a lo que podría parecer, es un trabajo más melódico que sus predecesores, con un ambiente negativo, y unas letras más cercanas a la crítica social, política e incluso ecológica («Blackened»). Destacan los temas «One» (canción con el primer videoclip grabado por la banda, recogiendo escenas de la película Johnny cogió su fusil;[22] con este videoclip, la banda comenzó a ganar fama en el ámbito mainstream, pero fue perdiendo fans al mismo tiempo, calificándolos como «vendidos»), «To Live Is to Die» (dedicado a Cliff Burton basándose en los bocetos de una canción que se encontraba componiendo en la que se oye un poema compuesto por el desaparecido bajista a pesar de ser un tema instrumental), «...And Justice for All» y «Blackened».
Esta producción marcó un hito en el equipamiento de las guitarras de Metallica, ya que dejan sus full stacks valvulares Marshall, pasando a utilizar la Mesa Boogie, obteniendo un sonido mucho más agresivo.[22] Algunas de las escasas críticas que recibió al disco se basan en, a pesar de la evolución, la escasa calidad en la producción, y el escaso volumen que tiene el bajo, el cual casi no se oye siendo imposible de atisbar en muchos momentos. A pesar de estas características, el álbum ha vendido hasta la fecha más de 8 millones de copias,[1] a pesar de tener una promoción casi nula sin ningún tipo de repercusión en canales de televisión como MTV.[1]
Jason Newsted, bajista de la banda desde 1986 hasta 2001.
Gracias a este trabajo, Metallica recibe su primera nominación a los premios Grammy en 1989, en la categoría de Mejor Interpretación Vocal o Instrumental de Hard Rock/Metal. Contra todo pronóstico, el ganador del premio fue el álbum Crest of a Knave de Jethro Tull, quienes no acudieron a la gala. Lars Ulrich se referiría a ellos después de ganar el Grammy en 1991 en la misma categoría por el álbum homónimo de la formación: «Queremos dar las gracias a Jethro Tull por no haber sacado ningún disco este año».[2] Una anécdota cuenta que el presentador de la ceremonia, el afamado cantante Alice Cooper, quedó realmente impresionado por el vencedor del premio, quedando su sorprendida cara grabada por las cámaras en la entrega del premio.[2]
The Black Album
Su siguiente trabajo, llamado Metallica pero mejor conocido como The Black Album, considerado por la crítica como la obra maestra de Metallica, se haría esperar hasta el año 1991. Fue producido por Bob Rock, conocido por su trabajo con Bon Jovi y Motley Crue, entre otros. Con canciones como «Enter Sandman», «Holier than Thou», «Sad But True», «The Unforgiven», «Wherever I May Roam» y «Nothing Else Matters», vendió más de 500.000 copias en su primera semana en EE. UU., llegando al primer puesto en la lista del Billboard,[23] en parte gracias a su carácter más comercial. Sólo en EE.UU., la RIAA certifica 14 millones de copias vendidas desde su salida a la calle. El nombre popular del disco, The Black Album (El álbum negro), viene de la portada del disco, que sólo contiene el logo de Metallica en la esquina superior derecha y el dibujo de una serpiente en la esquina inferior izquierda, todo ello bajo un fondo negro. Esta portada fue explicada posteriormente por Hetfield, quien dijo que la banda quería que la gente se fijase en la música que contenía el álbum, y no en el simbolismo ni en el diseño artístico.[2]
Posteriormente, la banda realizó la gira Wherever I may roam, que duró 2 años.[1] Después de esta gira, se inició un tour junto a Guns n' Roses, el otro grupo rock que por entonces tenía más éxito. Durante la gira, el 8 de agosto de 1992 en Montreal, Canadá, la actuación de Metallica terminó abruptamente cuando durante la canción «Fade To Black» un fuego artificial explotó debajo de James Hetfield, dejándolo con graves quemaduras.[5] Posteriormente la actuación de Guns N' Roses fue suspendida, debido a la afección de garganta de Axl Rose. La breve actuación de Metallica y la cancelación del show de Guns N' Roses provocaron la ira de los fans, que causaron múltiples destrozos y algunos heridos.[5]
En 1993, la banda editó el box set Live Shit: Binge and Purge, que contiene tres CDs y dos conciertos en vídeo grabados en Ciudad de México, en Seattle y en San Diego.
Load, Reload , Garage Inc. y S&M
Su disco homónimo, conocido popularmente como The Black Album marcaría un punto de inflexión en la carrera musical de Metallica, y sus dos discos consecutivos titulados Load (1996) y ReLoad (1997), de estilos idénticos entre sí ya que estaban pensados para formar un mismo álbum doble,[21] están totalmente dominados por un sonido que muchos antiguos seguidores consideraron como comercial y muy suavizado con letras más suaves, más cercano al rock alternativo que triunfaba en aquella época.[1] Quizás el cambio más llamativo para sus fans fue el cambio de imagen: se cortaron las melenas y cambiaron el fácilmente reconocible logotipo que identificaba a Metallica.[22] Esto se vio también reflejado en el cambio de sello discográfico, ya que las relaciones entre Elektra Records y la banda finalizaron después de casi diez años cobrando sólo un 14% de los beneficios netos de Metallica, aunque acabarían reanudando su contrato poco después.[5] El éxito de ambos álbumes no fue tan contundente como el del álbum negro. Muchos adolescentes se convirtieron en seguidores de Metallica, al mismo tiempo que muchos de sus antiguos fans se veían en gran medida «traicionados» por la nueva dirección tomada por el grupo,[10] lo que desde entonces lleva alimentando una gran polémica.[22] Como curiosidad cabe destacar que las portadas de ambos discos, Load y ReLoad, ilustran una mezcla de semen y sangre de oveja en Load, y una mezcla de sangre de oveja y orina en ReLoad. La idea original es del fotógrafo Andres Serrano, quien tomó además las fotos.[2]
En los premios Grammy entraron por primera vez en la categoría Heavy Rock en vez de Heavy Metal, como ocurría antes del mencionado Load. Ese mismo año la banda finlandesa Apocalyptica debutó con su tributo a Metallica Plays Metallica by Four Cellos, que era básicamente un álbum con covers de Metallica tocados únicamente con violonchelos.
El 1998 realizarían un nuevo trabajo similar a Garage Days Re-Visited titulado Garage Inc., aunque esta vez sería un álbum doble de versiones de temas de estilos bastante diversos que influyeron a la banda en su ya dilatada carrera. Mientras que el primer disco incluía covers grabados para el lanzamiento del álbum, el disco dos contenía íntegros el Garage Days Revisited proveniente del single de «Creeping Death», y el Garage Days Re-revisited, además de varias versiones provenientes de caras B y un extracto del concierto de versiones de Motörhead que Metallica dio en el 50 cumpleaños de Lemmy Kilmister el 4 de diciembre de 1995 en el Whiskey-A-Go-Go. El cover «Whiskey in the Jar» de Thin Lizzy resultó ganador de un premio Grammy en la categoría de Mejor Interpretación de Hard Rock en 2000.
Al año siguiente (1999) grabarían en un concierto en directo, titulado S&M, en colaboración con la Orquesta Sinfónica de San Francisco, dirigida por Michael Kamen, quien había hecho los arreglos de orquesta para «Nothing Else Matters» en The Black Album. En este álbum doble se experimenta la mezcla entre música de canciones de Metallica con arreglos orquestales. Además, se presentarían dos nuevos temas especialmente compuestos para la ocasión, «No Leaf Clover» y «- Human», extrayéndose el primero de ellos como segundo single del disco.
El episodio Napster
En abril de 2000, Metallica demandó a Napster, la compañía creadora del programa homónimo que permitía el intercambio de música en formato MP3, por violación de los derechos de autor,[1] pues una versión de la canción todavía en proceso para la película Misión Imposible II, «I Dissapear», se escuchaba en la radio estadounidense. Dos semanas después, Dr. Dre también demandaba a la empresa. Napster ya había sido acusada por la RIAA en 1999 de violar leyes de propiedad intelectual y servir de asilo para la piratería musical en internet, además de que algunas universidades habían pedido prohibir el programa, pues disminuía la velocidad de sus redes.
Para mayo de 2000, Napster bloqueó las contraseñas de más de 35 mil usuarios proporcionada por Ulrich y que habían obtenido canciones de Metallica.[5] Chuck D., The Offspring, Limp Bizkit y Courtney Love hablaron a favor de Napster y advirtieron sobre la oportunidad que significaba para consumidores y artistas. Para Chuck D., Napster era una reacción, «el fenómeno musical más grande desde los Beatles», «la industria se ha ufanado en guiar a las audiencias; por primera vez los fans han tenido la tecnología antes que la industria».
En su defensa, Napster alegó que servía sólo como conducto de la información. En junio de ese año, la RIAA pidió eliminar de Napster todo el contenido perteneciente a las discográficas más importantes. En septiembre del mismo año, Metallica y Dr. Dre enviaron cartas a Harvard, Columbia y otras universidades para que restringieran el acceso al programa. En octubre, Dave Matthews Band se convirtió en el primer grupo en permitir la distribución de una canción vía Napster, con la venia de su compañía.
La polémica cesaría en julio de 2001, al aplazar la banda todas las denuncias contra Napster alegando que estaba haciendo más mal que bien a la imagen del grupo.[1]
St. Anger y Some Kind of Monster
En 2001 el bajista Jason Newsted, quien anteriormente había tenido serias discusiones con los demás integrantes sobre sus proyectos fuera del grupo, abandonaría Metallica alegando desgaste físico y motivos personales.[10] Poco tiempo después, en la controvertida entrevista realizada por Playboy[24] por separado a todos los miembros de la banda varios meses antes, se descubriría que uno de los principales motivos de la marcha del bajista era la rotunda negativa de Hetfield a la publicación del disco de Echobrain, la banda alternativa de Newsted.[10] Tras un largo casting en busca de sustituto, y en el que se barajaron músicos como Twiggy Ramirez, se contrataría a Robert Trujillo, quien había sido bajista de Suicidal Tendencies, Black Label Society y Ozzy Osbourne en sus actuaciones en directo. Cabe resaltar que Jason Newsted, tras dejar Metallica, perteneció durante un tiempo a la banda de Osbourne, en la que militaba Mike Inez, ex miembro de Alice in Chains y que también se rumoreó como sustituto.[1] Este mismo año se crea la banda tributo satírica, Beatallica, la cual fusiona la música de The Beatles y Metallica. Tuvieron un problema legal con Sony, poseedora de los derechos sobre el material de los Beatles, pero fueron ayudados por Lars Ulrich.[25]
Concierto en Madrid el 22 de junio de 2003.
Antes de la entrada de Trujillo, la banda había grabado el álbum St. Anger, con Bob Rock nuevamente en el puesto de productor. Este último toca el bajo debido a las dificultades para encontrar un nuevo bajista.[26] Como peculiaridades del disco destaca la ausencia absoluta de solos de guitarra, y un sonido de la batería totalmente novedoso e igualmente polémico que radicaba en la caja, la cual tenía un armónico metálico en vez del de madera seca usado hasta entonces. El vídeo de la canción homónima del álbum fue grabado en la prisión de San Quintin.[27] Hubo otras muchas dificultades en la producción del álbum, debidos a motivos como el proceso de rehabilitación de Hetfield, que se había comenzado a tener problemas con el alcohol después de un viaje a Siberia donde, según él, su única bebida era el vodka.
En el 2004 se lanzaría el documental Some Kind of Monster, que narra la producción del St. Anger en medio de discusiones y problemas luego de la salida de Jason y de la rehabilitación de James Hetfield, de quien ya se conocía su pasión por el alcohol.[27] En el documental hacen aparición Jason Newsted y su banda Echobrain (Lars y Kirk acuden a una de sus presentaciones, se dirigen hacia los camerinos y cuando llegan, Jason ya se había ido) y uno de sus primeros guitarristas del grupo, Dave Mustaine, quien charla con Lars acerca de temas como su estancia en Metallica y su carrera en Megadeth.
Death Magnetic
En el 2006, la banda realizó el tour Escape from the studio 06, en el que tocaron el disco Master of Puppets entero en conmemoración de su vigésimo aniversario. Durante este tour, la banda tocó dos nuevas canciones: «New Song (Death is not the End)» y «The Other New Song (Vultorous)».[27]
El 4 de diciembre del 2006 fue lanzada una compilación de todos sus vídeos desde 1989 hasta 2004, titulada The Videos. Esta incluye todos sus vídeos desde «One» hasta «Some Kind of Monster» y, como bonus, las dos versiones del vídeo de «One», la version teatral de «The Unforgiven» de once minutos, el tráiler del documental Some Kind of Monster y además, por primera vez en DVD, la introducción de 2 of One. También Kirk y James aparecieron en el programa Metalocalypse y la banda entera en Los Simpson, quienes además aparecerían en la película Get Thrashed. Un año más tarde, el grupo grabó el cover de Ennio Morricone «The Ecstacy of Gold», el cual apareció en el disco tributo We All Love Ennio Morricone. Luego, en los meses de junio y julio realizaron la gira Sick Of The Studio 07.
La banda comenzó a grabar el álbum Death Magnetic el 14 de marzo de 2007. Éste cuenta con Rick Rubin como productor, reemplazando a Bob Rock, que había ocupado dicho puesto desde hace más de 15 años. El álbum es finalmente lanzado el 12 de septiembre de 2008. Se han establecido algunas citas para su gira en 2008, y anteriormente, participaron en el Electric Weekend de Getafe, siendo cabezas de cartel junto con Rage Against the Machine. Además, la banda participó en un álbum tributo a Iron Maiden, Maiden Heaven[28] , interpretando la canción «Remember Tomorrow» junto a bandas como Avenged Sevenfold o Dream Theater. Metallica, en la actualidad, ha vendido más de 100 millones de álbumes y posee una estrella en el paseo de la fama en Hollywood.[29]
La página oficial ha confirmado que el grupo ha sido nominado por sus 25 años de carrera junto con otros 8 candidatos a ocupar un lugar en el Rock 'N Roll Hall Of Fame además de que fue nominado en 2 categorías (Rock Out y Headliner) en los MTV Europe Music Awards así como invitado para tocar en vivo dentro de Los Premios a la Música de Latinoamérica de MTV, los cuales se llevaron a cabo dentro del Auditorio Telmex en Guadalajara, Jalisco, México.[30]
Sonido e influencias
A pesar de que en un principio Metallica tocaba un estilo muy cercano al thrash metal, especialmente en Kill'em All, a lo largo de los años se ha ido desmarcando de esta posición, especialmente a partir de Metallica (The Black Album), en el que tomaron un sonido más comercial para acercarse al mainstream.[1] Sin embargo, el cambio más importante se da a partir de 1996, con la publicación de Load, en el que se puede oír un sonido mucho más arreglado y cercano al hard rock y al rock alternativo, además de poder apreciarse el claro cambio estético de la banda, mucho más pulcramente vestidos abandonando sus melenas y sus vaqueros rotos y desgastados.[22] Esto sigue dividiendo a los fans hoy en día.[2] Con la publicación de St. Anger, el grupo se orienta hacia un estilo más cercano al nu metal y al metal alternativo, presentando un sonido mucho más duro y agresivo que en sus anteriores trabajos.
Las influencias musicales del grupo se pueden apreciar en el disco de versiones Garage Days Re-Visited, donde versionan canciones de bandas como Diamond Head, posiblemente su mayor influencia, o The Misfits, aunque también hay que incluir dentro de sus influencias bandas como Black Sabbath, UFO, Motörhead, Judas Priest o Iron Maiden.[22]
Polémicas
Sonido y estética
Con la publicación del álbum Ride the Lightning, muchos fans quedaron desencantados por la balada «Fade to Black», ya que para los más puristas seguidores de la formación, las bandas de thrash metal no deberían componer canciones orientadas hacia el «mainstream» como es el caso de dicho tema; sin embargo, con la publicación del álbum homónimo de la banda, dicha polémica se recrudece debido al sonido más comercial presente en el disco, ya que en los trabajos anteriores de la banda el sonido pesado y oscuro dominaba la gran mayoría de los temas. El cambio de sonido del grupo vino de la mano de Bob Rock, el productor del disco, quien había trabajado anteriormente con bandas como Bon Jovi o Motley Crue, todos ellos con una gran cantidad de discos vendidos a sus espaldas. A pesar de dicha polémica, éste fue el trabajo más exitoso en ventas de la banda, con más de 7 millones de copias vendidas sólo en EE. UU.,[1] a pesar de que muchos seguidores los calificasen como «vendidos».[10]
Aún con Bob Rock en sus filas, el grupo graba Load y ReLoad, dos discos que presentan un sonido mucho más accesible al público en general, lo que acabó por romper las relaciones de los seguidores más intransigentes de la formación dado el carácter cercano al hard rock de ambos trabajos.[10] Además, el hecho de que la banda encabezase festivales alternativos como Lollapalooza ayudó a que ganasen detractores.[24] St. Anger proporcionaba un sonido mucho más duro bajo la producción nuevamente de Bob Rock, quien además toca el bajo debido a la dificultad de la banda por encontrar un bajista que supliese la marcha de Jason Newsted. Este álbum tampoco convenció a la mayoría de los fans debido a su orientación hacia el nu metal, a la escasez del virtuosismo de Kirk Hammett, quien no realiza ningún solo en todo el disco, y al sonido de la batería.
Jason Newsted
Artículo principal: Jason Newsted
Artículo principal: Voivod
Jason Newsted se introdujo en la banda como sustituto del fallecido Cliff Burton, idolatrado por los fans, por lo que muchos de estos seguidores no vieron con buenos ojos la llegada de otro bajista al seno del grupo. Además, su manera de tocar fue criticada al ser comparada con el virtusismo de Burton, ya que éste último tocaba el bajo con los dedos en lugar de con una púa, como hacía Newsted. Después de su llegada, el grupo publicó ...And Justice for All, en el cual el sonido del bajo de Newsted resulta casi inaudible. En una ocasión, durante la gira de presentación de dicho trabajo, los restantes miembros del grupo arrojaron todos sus objetos personales por la ventana del hotel en el que se alojaban.[24] Además, se rumoreó entre los fans que Newsted era homosexual, algo que no era cierto.[24] Según sus propias declaraciones, Newsted explicó: «Era mi sueño hecho realidad. Si vas a llenar los zapatos de Cliff Burton, tienes que ser resistente».[24] Éste recibió numerosas críticas por ello, que recibió con paciencia hasta el año 2001, en el que decide abandonar la banda para ingresar en Voivod y, posteriormente, fundar su propio proyecto, que llamó Echobrain. Su sustituto fue Robert Trujillo, que añadió al grupo un sonido más duro al haber pertenecido a bandas de hardcore como Suicidal Tendencies o Infectious Grooves, aunque quizá el factor principal para la contratación de Trujillo fuese su estilo de tocar el bajo, con los dedos al igual que Burton. James Hetfield diría en una entrevista que "sus dedos parecían púas, eran como los de Burton".[13] En unas declaraciones posteriores a su salida de la banda, Newsted expuso: «Metallica tiene dos monstruos que controlan, y es muy difícil conseguir algo bueno en ese monopolio».[31]
Dave Mustaine
Artículo principal: Megadeth
Artículo principal: Dave Mustaine
Dave Mustaine, ex-guitarrista de Metallica y luego fundador de Megadeth, en un concierto con dicha banda en 2005.
La más famosa controversia en la carrera de la banda vino dada por el despido de Dave Mustaine, primer guitarrista del grupo y luego fundador de Megadeth, después de conductas violentas e irresponsables en el seno de la banda.[32] En 1983, en Nueva York, Mustaine tiene un accidente de furgoneta cuando la banda iba a reunirse con el productor Jon Zazula, siendo despedido y embarcado en un viaje de dos días hasta Los Ángeles, durante el cual decide fundar una nueva banda para vengarse de su despido. Declaró: «Después de ser despedido de Metallica, todo lo que recuerdo es que quería sangre, la suya. Quería ser más rápido que ellos».[33] Poco antes de éste, Mustaine tuvo varios problemas con Ron McGovney, primer bajista de Metallica, que acabaron con la marcha de éste antes de la salida del guitarrista. En aquel momento, Mustaine provocaba todo tipo de contratiempos a los restantes miembros del grupo debido a su adicción al alcohol y a las drogas, con lo que fue despedido de Metallica, introduciendo ésta a Kirk Hammett. Las hostilidades entre Megadeth y Metallica duraron varios años. En una entrevista realizada a James Hetfield en 1999, éste dijo: «No somos enemigos y no somos amigos, y creo que es mejor dejarlo así. Durante aquellos años todos estábamos borrachos y pasándolo bien, pero él lo llevó todo demasiado lejos. Era una persona realmente excesiva que tenía que llevarlo todo al límite, lo que incluía el alcohol y las drogas.»[34]
Cuando la banda le pidió a Mustaine que apareciese una entrevista entre él y Lars Ulrich en el documental Some Kind of Monster de 2004, el guitarrista se negó a ello, pero Metallica incluyó dicha entrevista. Mustaine dijo que eso fue "la traición final", y ha abandonado la esperanza de grabar algo o reaundar amistad con los miembros de la banda.[35]
Miembros
James Hetfield - Voz / Guitarra rítmica (1981 - presente)
Lars Ulrich - Batería (1981 - presente)
Kirk Hammett - Guitarra principal (1983 - presente)
Robert Trujillo - Bajo (2003 - presente)
Anteriores
Lloyd Grant - Guitarra líder (1981 - 1982)
Ron McGovney - Bajo (1982)
Dave Mustaine - Guitarra líder (1982 - 1983)
Cliff Burton † - Bajo (1982 - 1986)
Jason Newsted - Bajo (1986 - 2001)
La siguiente es una lista de álbumes, E.P., sencillos y compilaciones de la banda estadounidense de Thrash Metal Metallica.
Contenido
1 Discografía
1.1 Álbumes De Estudio
1.2 Maquetas
1.3 E.P.
1.4 VHS/DVD
1.5 VHS/DVD No Oficiales
1.6 Boxsets
1.7 Fan Cans
1.8 Compilaciones
2 Otras canciones
2.1 Demos
2.2 Otras
2.3 Singles
3 Videografía
4 Véase también
5 Referencias
//
Discografía [editar]
Álbumes De Estudio [editar]
Kill 'em All (1983)
Ride the Lightning (1984)
Master of Puppets (1986)
... And Justice For All (1988)
Metallica (1991)
Load (1996)
ReLoad (1997)
St. Anger (2003)
Death Magnetic (2008)
Maquetas [editar]
Ron McGovney's '82 Garage Demo (1982)
Power Metal Demo (1982)
No Life 'til Leather (Bay Area Thrashers) (1982)
Live Metal Up Your Ass (1982)
Horsemen Of The Apocalypse (1983)
Megaforce Demo (1983)
Ride The Lightning Demo (1983)
Master Of Puppets Demo (1985)
HARVESTER OF SORROW b-side demo (1988)
..AND JUSTICE FOR ALL demo (1988)
METALLICA demos (1991)
E.P. [editar]
Garage Days Re-Revisited (The $5.98 E.P.) (1987)
Some Kind Of Monster (2004)
The Unnamed Feeling E.P. (2004)
VHS/DVDCliff 'em All! (The $19.98 Home Vid) (1987) VHS y DVD
2 of One (1989) VHS
A Year and a Half in the Life of...Part 1 & 2 (1992) VHS y DVD
Cunning Stunts (1998) VHS y DVD
S&M (1999) VHS y DVD
Classic Albums: Metallica - Metallica (2001) DVD
Metallica: Some Kind of Monster (2005) VHS y DVD
The Videos 1989-2004 (2006) DVD
VHS/DVD No Oficiales [editar]
Guitar Method: In The Style Of Metallica - 40 Killer Riffs (1996) VHS (2003) DVD
Guitar Method: In The Style Of Metallica (1998) VHS (2004) DVD
Rock Warriors Unauthorized (2003) DVD
Dark Souls: Unauthorized Documentary (2003) DVD
Metallimania (2005) DVD
Metallica - Music Video Box Documentary DVD (2006) DVD
Metallica: Reflections DVD/Book (2006) DVD
Metallica - Kill 'Em All to St. Anger (2006) DVD
Boxsets [editar]
Live Shit: Binge & Purge (1993) VHS y DVD
Re-Fuel (1999)
Garage Days (1999)
Garage Inc (1998)
Hero of the Day (1999)
S&M (2000)
Limited-Edition Vinyl (2004)
Fan Cans [editar]
Fan Can 1: Stupid Sh*t (1996)
Fan Can 2: En vivo en "Slim´s club" San Francisco, CA. (1996)
Fan Can 3: En vivo en "Blindman´s ball" Sttutgart, Alemania (1997)
Fan Can 4: En vivo en "Reunion Arena", Dallas. (1999)
Fan Can 5 (2006)
Compilaciones [editar]
Metal Massacre (1982)
The Good, the Bad and the Live (1990)
Rubaiyant: Elektra's 30th Anniversary (1990)
For Those About To Rock (1992)
Woodstock '94 (1994)
Spawn: The Album (1997)
WCW: Mayhem The Music (1999)
Woodstock '99 (2000)
M:I-2 (Mission impossible 2) (2000)
NASCAR: Full Throttle (2001)
A Tribute to the Ramones: We're A Happy Family (2003)
I've Always Been Crazy: A Tribute to Waylon Jennings (2003)
The Bridge Collection (2006)
We All Love Ennio Morricone (2007)
Maiden Heaven (2008)
Otras cancioneDemos [editar]
Hit the Lights tema demo interpretado por Ron McGovney y Lloyd Grant en 1981.
The Mechanix nombre demo de The Four Horsemen, apareció en el demo "No Life 'til Leather". Fue lanzada con el mismo nombre por Megadeth.
When Hell Freezes Over nombre demo de The Call of Ktulu.
Moudly nombre demo de Hero of the Day. Apareció en el single de "Hero of the Day".
F.O.B.D. (Fell on black days) nombre demo de Until it Sleeps. Apareció en el single de "Until it Sleeps".
Streamline nombre demo de Wasting my Hate.
Outlaw nombre demo de Outlaw Torn.
Bitch nombre demo de Ain't My Bitch.
Load nombre demo de King Nothing.
Mine Eyes nombre demo de Low Man's Lyric.
Skimpy nombre demo de Carpe Diem Baby.
Memory nombre demo de The Memory Remains.
Fuel for Fire nombre demo de Fuel con diferente letra, usada en el soundtrack de Nascar.
Plod nombre demo de - Human.
Dead Kennedy Rolls, tema demo de las sesiones de composición de St Anger. Aparecido en un video de www.metallica.com.[1] Finalmente no formó parte del tracklist.
Temptation tema demo de las sesiones de composición de St Anger, aparece en el DVD "Some Kind of Monster". Finalmente no formó parte del tracklist.
Shadow of the Cross tema demo de las sesiones de composición de St Anger. Finalmente no formó parte del tracklist.
New Song canción nueva estrenada el 6/6/06 en Alemania, probablemente formara parte del tracklist del nuevo álbum. También es llamada "Death is not the end".
The Other New Song canción nueva estrenada el 12/8/06 en Japón, probablemente formara parte del tracklist del nuevo álbum. También es llamada "New Song II" y "Vulturous".
Suscribirse a:
Entradas (Atom)