Estrenamos hoy el nuevo video de Keane con la colaboración de K'naan "STOP FOR A MINUTE" ("Para un momento"). Incluimos el video original y otro video con una versión en vivo.

We premiere today Keane's new video featuring K'naan "STOP FOR A MINUTE". We include the original video & another one with a live version of the song.


Video "STOP FOR A MINUTE" en vivo/live:



Vamos con la propuesta de Quiz para el mes de Abril. Incluimos fotos de un hotel. La pregunta es: ¿de quién fue este hotel? (en la misma pregunta está la pista). Y, ¿dónde está este hotel? Varios de nuestros artistas favoritos están en el negocio hostelero... Tenéis un mes para solucionarlo.
We're going to set the Quiz for April. We enclose photos of a hotel. The question is: whose hotel was it? (the clue is in the same question). And, where is this hotel? Several of our favourite artists are in the hotel business... You've got a month to solve it.

Solución/Solution: 30/04/2010

AMARAL: UN MARZO MUY INTERNACIONAL / A very international March

Amaral, New York

El pasado día 2 Amaral emprendió una ambiciosa gira que les llevó desde Hannover a Nueva York. En concreto actuaron en la Cebit 2010, una de las más importantes ferias internacionales de telecomunicaciones, en esta ciudad alemana, en la que también tuvieron una cita al día siguiente en la Sala Gig Linden.
De ahí, los aragoneses partieron hacia norte América, donde actuaron en Toronto (Ontario, Canadá). en Chicago (Illinois), y en Austin (Texas), para concluir su periplo norteamericano el 23 en el Spanish Rock And Roll Army que se organiza en Brooklyn (Nueva York).
Amaral están volcados en estos momentos en su proyección internacional con un directo que, sólo en España, han disfrutado más de 700.000 personas en más de 60 ciudades. Además, recordemos que el día 4 de marzo durante la gala de entrega de la decimocuarta edición de los Premios de la Música se les concede el galardón a la Mejor Producción Musical Audiovisual por la grabación del concierto ofrecido en el Palacio de los Deportes de Madrid el pasado mes de octubre.
On the past 2nd March, Amaral started off an ambitious tour which took them from Hannover to New York. They performed at the Cebit 2010, one of the most important international broadcasting conventions, in this German city, where they also performed the following day at the Gig Linden premise.
From there, the Aragon-born band took off to North America, where they performed in Toronto (Canada), Chicago (Illinois) & Austin (Texas) to end up their Northamerican tour on the 23rd at the Spanish Rock & Roll Army organized in Brooklyn (New York).
At the moment, Amaral are devoted to their international projection with their live concerts, which have been seen, only in Spain, by more than 700.000 people throughout 6o cities. Furthermore, on March 4th, at the 14th Music Awards Gala, they received the prize to the Best Audiovisual Musical Production for the recording of their concert at the Madrid Palacio de los Deportes last October.



Damos solución a un Quiz bastante fácil, ya que Abba no tuvo más portadas de álbum en exteriores que el de "ARRIVAL" ("Llegada") (1976). La famosa portada del helicóptero, cuya foto se tomó en el aeródromo de Barkarby, cerca de Estocolmo.

We give the answer to a quite easy Quiz, as Abba didn't have any album-sleeve with an outdoor photo other than "ARRIVAL" (1976). The famous helicopter photo was taken at the Barkarby airfield, in Stockholm's outskirts.



Otra entrada de nuestro último descubrimiento: Sissel (Kyrkjebo). La foto es portada de un álbum que recoge lo mejor de su repertorio hasta el 2002, y que fue su primer disco en los Estados Unidos, una colección de canciones pop con un toque de música celta y escandinava. De este disco hemos conseguido dos video clips que incluimos aquí.
Another post of our latest discovery: Sissel (Kyrkjebo). The photo is the picture-sleeve of an album that collected the best of her repertoire up to 2002, and which was her first record in the USA, a colection of pop songs with a celtic-scandinavian musical touch. From this album we've got two videos which we include here.
Video "CAN'T GO BACK (BETTER OFF ALONE)" ("No puedes volver (Mejor sola)"):
Video "CARRIER OF A SECRET" ("Portador de un secreto"):


EL EMBROLLO DE LA SUPUESTA VUELTA DE ABBA / The Abba reunion story mess up

El periódico que lo empezó todo / The newspaper that started it all

Ian Cole desde el Abba World Blog hace un resumen de cómo empezó todo el embrollo sobre la supuesta vuelta de Abba. Incluimos aquí la entrada del blog en inglés.
Ian Cole at the Abba World Blog summarises how the whole story of a supposed Abba comeback started. We enclose the original post from the blog here.
ABBA World Blog
(Ian Cole)
Unless you’ve been under a rock for the past 24 hours or so you’ve probably run across the headline “ABBA to reunite?” or “ABBA hints at reunion” or something similar. It’s been reported on probably every news site in the world and also made newspapers and TV and radio news. A Google search reveals over 250 hits on this this story.
The hubbub came about from an interview with Benny and Björn in The Times (London) on 26 March headlined Abba to reform? ‘Yeah, why not?’. The article, which was supposed to be about the upcoming Kristina concert at Royal Albert Hall, starts with Benny joking about the inevitable reunion question. Later interviewer Pete Paphides suggests “the idea of an intimate, one-off performance for invited guests and families, perhaps with a small orchestra, focusing on some of the more “mature” material from the later albums”. Björn jokes that they could perform ‘The Way Old Folks Do’. Benny replies “Yeah, why not?”, then goes on to say that he doesn’t “know if the girls sing anything any more” and “It’s not a bad idea, actually”. That’s the full extent of the reunion “hint”.
A second article in The Times The Way Old Friends Do? Abba offer hope to new generation of fans with reunion hint emphasises Björn and Benny’s responses, but not the tone of the original article that made it apparent it was pretty much in jest. The story is credited to Pete Paphides and Patrick Foster, though I suspect Paphides’ name is attached only as the author of the original piece. He has written many positive articles on ABBA topics in the past, and I don’t think he’d be responsible for such speculation. It seems that then every wire service and news agency in the world picked up this story, not the original interview, and ran with it.
Within hours The Telegraph (London) posted an article headlined ABBA: ‘Reunion is never going to happen’, quoting ABBA business associate and spokeswoman Görel Hanser “It’s simply not true. It was a passing comment Benny made, almost as a joke – nothing more than that. … There is no prospect of ABBA getting back together – it’s never going to happen. I think the fans know that deep down but we’re sorry if we got anyone’s hopes up.”
Just two weeks earlier when ABBA was inducted in to the Rock and Roll Hall of Fame in New York Frida said in her speech “We haven’t been a group, we haven’t performed or sung together for 28 years. We broke up in ’82 and I never think we will reunite again – it’s a bit too late for that.” And on 4 March in a BBC Radio 4 interview the following exchange between Benny and Björn took place:
Question: Will you ever share a stage with the girls again, will ABBA reform?Björn: No.Benny: Why do we have to say no to a question all the time?Björn: If we say yes but don’t mean it then there will be headlines tomorrow.

GÖREL HANSER: "ABBA NUNCA VOLVERÁ" / "Abba reunion will never happen"

Görel Hanser

Después de que la prensa de todo el mundo se hiciera eco del comentario de Benny en una entrevista para The Times Online, publicada aquí ayer, Görel Hanser, la actual manager del grupo, ha sido categórica al negar cualquier posibilidad de que Abba, como grupo, vuelvan a actuar juntos. Görel califica el comentario de Benny como una simple broma. Incluimos artículo en inglés del UK Telegraph de hoy mismo.
After worldwide press paying attention to Benny's comment on The Times Online interview, posted here yesterday, Görel Hanser, the group's current manager, has been categorical to deny any possibility of Abba singing together again as a group. Görel states that Benny's comment was a simple joke. We include a today's article from the UK Telegraph.
(Murray Wardrop)
Fans of the Swedish pop quartet were offered a glimmer of hope when former band member Benny Andersson said they could reunite for a one-off show.
However, the group has now apologised for raising fans’ expectations and admitted that the comment had been nothing more than a “joke”.
Speculation over a comeback mounted after Andersson and former band mate Bjorn Ulvaeus were asked if they would consider a one-off ABBA performance that could be beamed around the world.
Despite having previously turned down a raft of lucrative offers to reunite, including a £600 million tour deal, Andersson replied: “Yeah, why not?”
During the interview with a newspaper, he continued: "I don't know if the girls sing anything any more. I know Frida (Anni-Frid Lyngstad) was in the studio," adding: "It's not a bad idea, actually."
Referring to the last song on the group's Super Trouper album, The Way Old Friends Do, Ulvaeus quipped: "We could sing The Way Old Folks Do."
But in a blow to millions of Mamma Mia! devotees, the band have swiftly backtracked on the idea.
Görel Hanser, the group’s manager, said: “It’s simply not true.
“It was a passing comment Benny made, almost as a joke – nothing more than that.
“I’ve spoken to Benny and given him a stern telling off. I have told him not to make such ridiculous suggestions anymore.
“There is no prospect of ABBA getting back together – it’s never going to happen. I think the fans know that deep down but we’re sorry if we got anyone’s hopes up.
“It was great in the good old days but we should remember them as they were.”
The band, who split in 1982, previously dismissed any suggestion of a reunion, insisting they would never take to the stage again.
In 2000 they rejected a $1 billion (£600 million) offer to play a 100-date world tour.
At the time Ulvaeus, 64, said: “This is the budget of a small country so we had to give it some thought.
“In the end we decided that, whatever offer was on the table, it would be stupid to re-form and utterly ludicrous to change the images people all over the world have of us.”
And two years ago Ulvaeus said: “We will never appear on stage again. There is simply no motivation to regroup. Money is not a factor and we would like people to remember us as we were — young, exuberant, full of energy and ambition.
“I remember Robert Plant saying Led Zeppelin were a cover band now because they cover all their own stuff. I think that hit the nail on the head.”
Andersson has also previously dismissed talk of a reunion, saying: “We’d need a good reason to re-form and I just don’t see one. We could never recreate the old days. I’d rather be remembered for the way we were 30 years ago."
The group, whose hits include Dancing Queen, Take a Chance on Me and Money, Money, Money, has sold 370 million records.
Famed for the spandex costumes, they have enjoyed a renaissance in recent years, helped by the success of the film version of Mamma Mia!, the musical based on their songs.
However, it remains to be seen whether former female band mates Lyngstad and Agnetha Fältskog would support the idea of a reunion.
Lyngstad, 64, who married a German nobleman, said in an interview in 2005 that she had no interest in returning to a music career.
Fältskog, 59, has enjoyed a solo pop career since ABBA split but has not hinted at a reunion. Staffan Linde, her spokesman, said that Fältskog was not aware of Andersson recent reunion suggestion.
Andersson and Ulvaeus are promoting their new musical Kristina which opens at London's Royal Albert Hall on April 14.


BENNY & BJÖRN: OTRA ENTREVISTA: UNA REUNIÓN DE ABBA: SÍ, ¿POR QUÉ NO? / Another interview: An Abba reunion: Yes, why not?

Con motivo del próximo concierto del musical "KRISTINA" en el Royal Albert Hall de Londres, Benny y Björn han concedido una nueva entrevista a The Times Online. Aquí incluído en inglés. Hablan de un posible concierto privado como esperada reunión de Abba: "¿Por qué no?" y de que Frida ha estado en un estudio de grabación recientemente... Abriendo expectativas... (Recogemos también el resumen de la entrevista aparecido en M80blog).
As the future concert of "KRISTINA" at the Royal Albert Hall in London approaches, Benny & Björn have given a new interview to The Times Online. Included here in its original version. They talk about a possible private concert as the long awaited Abba reunion: "Why not?" and that Frida has been in a recording studio lately... Opening expectations... (We also include the summary of the interview as posted on M80blog in Spanish).
(Pete Paphides)
A reunion? Don’t talk to Abba about a reunion. Except, of course, that it’s hard not to. Benny Andersson and Björn Ulvaeus are aware of the protocol. “Don’t worry, I know you have to ask,” says Andersson, a baby-faced 64, when he sees me edging towards the question. The last time I edged uneasily towards the question, in May 2002, Ulvaeus said flatly: “There’s no amount of money in the world that could persuade me to do that.”
Since then they’ve regularly been politely rebutting requests to re-form , not only from fans who weren’t born when Abba imploded, but from promoters who, according to Ulvaeus, offered “crazy” sums for a farewell tour — in one case $1 billion (£600 million). Every time the thought of “the looks on the faces in the audience as they realised we had grown old” meant that Abba had long faced their Waterloo.
Eight years later there’s no reason to believe that Ulvaeus and his songwriting foil of four decades might react any differently. And yet, for one extraordinary moment at the end of our encounter, a realisation stirs into life that there may be a way to turn the longed-for reunion into a reality.
However, obliging as they are when it comes to talking about their pop star years, that’s not the reason they are here. Andersson and Ulvaeus are in London overseeing rehearsals for the UK premiere of their most ambitious project. Abba fans might want to take a raincheck on Kristina when it comes to the Albert Hall next month. On the face of it, Vilhelm Moberg’s 2,000-page epic about Swedish emigrants in the 19th century isn’t the most obvious of contenders for musical theatre treatment. Nevertheless, in 1995, when Kristina opened in Malmö, Swedish reviewers greeted it with a fervour that eclipsed anything that Andersson and Ulvaeus had achieved with Abba.
Quite what British audiences will make of it is another matter. “We’ve cut the play down from three hours to two,” Ulvaeus says. “And I approached Herbert Kretzmer, who did Les Misérables, to translate the lyrics into English.”
Kretzmer obliged — although even he couldn’t do justice to one of the few gags in the original version, a bilingual joke predicated on the similarity of the word “speed” and the Swedish term for breaking wind. “It’s probably for the best,” says Ulvaeus, his 65-year-old frame a slip of what it was when he squeezed into that satin jump suit on the night of Abba’s Eurovision triumph. “We wouldn’t dream of making a fart joke at the Albert Hall.”
Be that as it may, newly retitled highlights such as Burial at Sea, I Am Reconciled to My Fate and Miscarriage confirm that Mamma Mia 2 is very much not on the cards. To Andersson it’s a chance to show a British audience what he and Ulvaeus have been up to. “One reason we never cared about breaking America,” he says, “is that the English people treated us like their own.” Ulvaeus adds, though, that “it did make us spoilt. With Top of the Pops you could reach all of Britain. But in America you reached a tiny audience doing silly TV shows we didn’t want to do anyway.”
I suggest that some members of the group showed their reluctance a little more readily than others. Anyone who persists in believing that blondes have more fun might care to read Agnetha Fältskog’s 1997 autobiography As I Am. “No one who has experienced facing a screaming, boiling, hysterical crowd,” she wrote, “could avoid feeling shivers up and down their spine. It’s a thin line between ecstatic celebration and menace.”
Was it really that bad? As her ex-husband and father to her two children, you’d think Ulvaeus would know, but he sounds unsure. “She didn’t seem unhappy at the time. It’s strange the way that history sometimes becomes rewritten and it becomes the truth.”
He’s not just talking about Fältskog here. Such revisionism, he feels, also extends to the place Abba hold in the collective memory. “It’s not just people wanting to hear the songs. It has more to do with people wanting to be in some kind of mood that is fictitious. A mood of ‘the Seventies’ that Abba represents but is not rooted in reality. For instance, we never thought in our wildest dreams that we would be gay icons.”
I put it to him that Fältskog might have had something to do with the whole gay icons thing. “But why?” Ulvaeus counters. “She’s a very heterosexual woman. I know.”
That’s not how it works, I tell him. “How does it work, then?” he asks. Well, it all goes back to her not looking happy. You could tell that she was suffering inside, but she carried on in the name of showbiz. Ulvaeus remains unsure: “Hmm. It could be the outfits and the Eurovision.”
At times, Ulvaeus’s perspective on Abba’s legacy is so unknowing that it’s a struggle not to leap across the coffee table, where his fishcakes have just been delivered, and hug him. How could he and Andersson have written Hi-NRG hymns to physical desire such as Gimme Gimme Gimme (A Man After Midnight) and Lay All Your Love on Me and not think it might play out well with their gay fanbase? “We didn’t realise it. We were just releasing another song, that’s all."
Play Abba’s albums in chronological order and the effect is something akin to having your emotional dimmer switch turned slowly down. With the bulk of 1980’s Super Trouper album written after Ulvaeus and Fältskog’s divorce, the group’s music changed to mirror their personal situations. The Winner Takes it All was written in a red wine-abetted stupor of self-pity. “Usually it’s not a good idea to write when you’re drunk,” Ulvaeus says, “but it all came out on that one. By the time I wrote ‘The gods may throw their dice’ the bottle was empty.”
By the time they recorded their last song together, The Day Before You Came, “we were really in the dark”, Andersson says. Abba’s swansong seems to harbour a pop mystery as enduring as the identity of the subject of Carly Simon’s You’re So Vain. What happened after this guy “came”? Ulvaeus smiles enigmatically, but he’s not saying. “You’ve spotted it, haven’t you? The music is hinting at it. You can tell in that song that we were straining towards musical theatre.
“We got Agnetha to act the part of the person in that song. In retrospect, it might have been too much of a change for a lot of Abba fans. The energy had gone.”
For the remainder of the 1980s, Ulvaeus felt that “our music had fallen so out [of fashion] that people looked down on it”. In the early 1990s, when tribute bands such as Björn Again popped up, they merely compounded the uneasy feeling in Ulvaeus’s mind that people were laughing at Abba. “I heard that they spoke with a Swedish accent between the songs, which made me pissed off. But then I spoke to people who went to the shows. They said that it’s a happy feeling and that people are enjoying themselves immensely.”
Years later, of course, we know that irony is merely the first step on the way to critical and commercial rehabilitation. It isn’t irony that has sold 28 million copies of Abba Gold and — thanks to Mamma Mia!’s passage from Broadway to Hollywood — that finally broken them in America.
When Brian Higgins — the producer-writer behind Girls Aloud — set up his Xenomania hit factory, he said that “SOS was the benchmark song we aspired to reach melodically”. “Funnily enough,” Ulvaeus says, “that was also the song that Pete Townshend mentioned when he came up to me in a restaurant one time. He said he thought it was the best pop song ever written.”
If challenged to do so, could Andersson and Ulvaeus sit down and write a song like that now? “I’m not sure,” Ulvaeus says. “Look at the hookline of Poker Face by Lady Gaga. That could have been written in the Seventies, but the way the song is put together is different. Do I like it? I love it.”
“I haven’t heard it,” Andersson says.
“Oh, it’s fantastic!” Ulvaeus says. “You’re the only one.”
In 2010, our sense of what a great pop song should be tallies more with the qualities found in Abba’s music than any other group. If someone doesn’t “get” Abba they seem to be rooted in a less enlightened era. A few years ago, I suggested to Roger Waters that Pink Floyd’s Animals bore certain thematic similarities to Abba’s final album The Visitors. Taking umbrage at the notion, Waters sniffed: “From the first ‘my’ on Waterloo I was an ex-listener.”
“Well, he missed a lot of the good stuff,” Andersson says. “At least he knows it starts with ‘my’ — that’s something. Dark Side of the Moon is not bad. They made some wonderful records.” Ulvaeus seems rather more put out by Waters’s comment. “It’s a bit pretentious, isn’t it? That attitude of: ‘I wouldn’t stoop so low.’ ”
Over at Earls Court, a mile from here, the presence of Abba World confirms that the imperious former Floyd frontman finds himself in a shrinking minority. Such is the love for Abba that thousands of fans a week are paying £21 each to see an exhibition that, among the karaoke opportunities and replica Arrival helicopter, seems to revel in the defiantly workaday environs — the re-creation of their manager’s office springs to mind — that spawned deathless pop such as Dancing Queen and Take a Chance on Me. “It was a chance to clear out some stuff from the attic,” Andersson says. “Have I been to see it? No. I lived it the first time.”
No point then in asking if he would want to live it again. Probably not. But footage of Fältskog at Abba World, talking with surprising affection about her contribution to the group’s biggest hits, is fresh in my mind. Reunions can take all sorts of different forms. A lucrative world tour might be out of the question, but what about something more low-key? I float the idea of an intimate, one-off performance for invited guests and families, perhaps with a small orchestra, focusing on some of the more “mature” material from the later albums. The whole thing could be filmed and the rights licensed out to TV stations around the world.
Alluding to Super Trouper’s final song The Way Old Friends Do, Ulvaeus’s first response is seemingly in jest: “We could sing The Way Old Folks Do!” Andersson, by contrast, seems deeper in thought. “Yeah, why not?” he nods. As if working through the logistics, he adds: “I don’t know if the girls sing anything any more. I know Frida [Anni-Frid Lyngstad] was [recently] in the studio.”
And on her most recent solo album, five years ago, Fältskog was in fine voice. “If you can sing, you can sing,” he concurs. Then, a little later, “It’s not a bad idea, actually.”
Alas, though, as the door to a reunion appears to open ever so slightly, so does another one. Andersson and Ulvaeus have to rush back to the Albert Hall, where rehearsals are under way. In two weeks, Kristina has its premiere. And then what? Like the song goes: “If you change your mind...”
En 2000 una jugosísima oferta de 1.000 millones de dólares (746 millones de euros) no fue capaz de reunir a los componentes de ABBA para una gira mundial.Diez años después y el continuo aumento del mito gracias al éxito del musical Mamma mia!, los cuatro artistas suecos podrían volver a juntarse para tocar tras casi 30 años separados."Sí, ¿por qué no?", fue la respuesta de Benny Andersson, uno de los dos componentes masculinos del cuarteto, cuando fue interrogado sobre la posibilidad de una gira con una orquesta en una entrevista para The Times, con motivo de la promoción del musical Kristina, que se estrena el Londres el 14 de abril."No sé si las chicas [en referencia a "Frida" Lyngstad y Agnetha Fältskog] siguen cantando. Sé que Frida estuvo grabando", añadió el músico. "Realmente no es una mala idea", subrayó.
Sin embargo, los seguidores de ABBA pueden albergar aunque sea una brizna de esperanza. También Andersson and Ulvaeus se negaron a reunir el grupo anteriormente.Hace dos años, Ulvaeus aseguró que "nunca nos subiremos a un escenario otra vez; no hay motivos para reunirse. El dinero no es un factor y nos gustaría que la gente nos recordase como éramos: jóvenes, exuberantes, llenos de energía y ambición".Lyngstad se casó con un príncipe alemán y vive en los Alpes suizos. Se cree que estaría relativamente bien dispuesta al reencuentro, según The Times.La última vez que el cuarteto se juntó públicamente fue en 2008, en el estreno en Estocolmo de la película Mamma mia!, basada en el musical del mismo nombre.

[BSO] SISSEL, UN GRAN DESCUBRIMIENTO DE OTRA FANTÁSTICA VOZ ESCANDINAVA / A great discovery of another fantastic Scandinavian voice

De nuevo, por pura casualidad, hemos descubierto una gran voz femenina, procedente de Escandinavia: la soprano noruega Sissel (Bergen, 24/06/69). Una voz que descubrimos versionando a Abba, pero que repasando sus videos en la web, descubrimos auténticas joyas y una voz exquisita. Además de grandes colaboraciones, por ejemplos con Carreras. Lo extraño es que no sea más famosa esta voz que algún periódico llama: "el tesoro de noruega". Por todo esto, hoy es nuestra candidata y os dejamos algunos videos suyos.
Once again and by chance, we've discovered a great female voice coming from Scandinavia: Norwegian soprano Sissel (Bergen, 24/06/69). A voice we found covering Abba, but checking on her videos on the web, we find authentic jewels and an exquisite voice. Apart from great collaborations, such as Carreras. The strange thing about her is that her voice isn't more well-known because as a newspaper descibes her: "Norway's treasure". For all this, she's our candidate today and we enclose some of her videos.
Video "OVER THE RAINBOW" ("Por encima del arco iris"):


Video "O MIO BABBINO CARO" (Puccini opera):



La segunda versión de esta sección, editada el 1/7/09, ya recogió versiones de este tema de Abba "LIKE AN ANGEL PASSING THROUGH MY ROOM" ("Como un ángel atravesando mi habitación"), en voz solista de Frida, y las versiones de Madonna y Anne Sophie von Otter. Pues hemos encontrado todavía una versión más, en la voz de la soprano noruega Sissel Kyrkjebo, conocida artísticamente como Sissel, que cantó el tema de Abba en el centenario de la independencia de Noruega de Suecia en 2005. Y aquí la incluimos, y opinamos que es la mejor (tras la original).

The second version in this section was posted on 1/7/09, already collected versions of this Abba song "LIKE AN ANGEL PASSING THROUGH MY ROOM", in Frida's solo, and the cover versions by Madonna & Anna Sophie von Otter. Well, we've found yet another version, in the voice of Norwegian soprano, Sissel Kyrkjebo, known artistically as Sissel, who sang this Abba song at the centennial of Norwegian independence from Sweden in 2005. So we enclose it here, and we think it's the best (after the original one).

Audio "LIKE AN ANGEL PASSING..." Abba (remix):

Video Sissel version:
Audio Sissel version:



En la noche en que Abba fueron aceptados en el Rock'n'Roll Hall of Fame, todo el mundo conoció al nieto heavy metal y tatuado de Frida, porque orgullosamente lo presentó como fan de Abba. Hoy hemos conseguido más fotos de él, una de esa misma noche con su abuela y ex-abuelo Benny. Jonathan es hijo de Ann-Lise-Lotte Casper, hija de Frida, que falleció prematuramente en un accidente automovilístico en 1988 cuando él sólo tenía 10 años. A pesar de hacer heavy, de sus tatuajes, piercings... es fan de su abuela y de su grupo, Abba.
The night Abbe were inducted in the Rock'n'Roll Hall of Fame, everybody met Frida's heavy-metal-tattooed grandson, as she proudly introduced him as an Abba fan. Today we've got more photos of him, one that same night with his grandma and former-grandad Benny. Jonathan is Ann-lise-Lotte Casper, Frida's daughter, sadly dead in a car accident in 1988 when he was only 10 years old. Despite being a heavy musician, his tattoos, piercings... his a fan of his grandma and her group, Abba.


SYNTEK HABLA DEL NUEVO DISCO DE ANA TORROJA / Syntek talks about Ana Torroja's new album

Como co-productor del nuevo disco de Ana Torroja, Aleks Syntek ha hecho unas declaraciones a la prensa mexicana sobre el disco que se dará a conocer a mediados de este año.
"El material abundara en el genero pop; sin embargo, junto con el productor Andrés Levin estamos apostando por algo un poquito mas juguetón, como lo que hacía con Mecano, que era algo no tan solemne y más divertido'', explicó.
La grabación del álbum se lleva a cabo en un estudio de España, otra parte en casa de Torroja, ubicada en Malaga, una más en Nueva York y en el estudio de Syntek, en la capital mexicana.
"Va por la mitad y todavía faltan algunos temas por concluir. Quisimos hacerlo en diferentes lugares para lograr atmosferas que nos inspiren de otra manera. Por el momento sólo me encargo de la producción y composicion de canciones, esta vez no haremos dueto juntos, como sucedio en 2004 con "DUELE EL AMOR''', añadió. Otras de las melodias fueron creadas por el español Miguel Bosé y la argentina Claudia Brant.
"Pese a que tengo muchos compromisos, no quise dejar de participar en el disco mas que nada porque adoro a Ana y me encanta su música, además, es un honor que siempre me tenga en su mira y que siempre quiera trabajar conmigo, eso me fascina'', resaltó.
As co-producer of Ana Torroja's new album, Aleks Syntek has spoken to Mexican press about the record which will be released in mid-2010.
"The songs will be most of all pop, and with producer Andres Levin, we're working on something a bit more playful, as what she did with Mecano, which wasn't so serious but funnier", he explained.
The recording of the album is being done in a studio in Spain, another part in Ana's house in Malaga, one more in New York and another in Syntek's studio in Mexico.
"We're in the middle of the process, there are still some songs to finish. We wanted to do it in different places to try and get different atmospheres to inspire us in different ways. Up to now I've only deal with producing & composing songs, we won't be doing a duet, this time, like in 2004 with "DUELE EL AMOR" ("Love hurts"), he added. Other melodies have been created by Spanish singer Miguel Bosé & Argentinian Claudia Brant.
"Although I have many jobs to do, I don't want to stop taking part in this record, especially beacuse I adore Ana and I love her music, and it's an honor that she always counts on me and wants to work with me, that fascinates me", he added.
Video "DUELE EL AMOR" ("Love hurts") en vivo/live:



Es lunes de nuevo, y otra canción de lo horribles que son y de como echamos de menos los fines de semana. Hoy el éxito de The Bangles "MANIC MONDAY" ("Lunes loco") en dos versiones, el single y acústico. Otro tema compuesto por Prince. Y ánimo que el lunes que viene serán vacaciones...

It's Monday again and another song of how terrible Mondays are and how we miss the weekends. Today it's Bangles' hit "MANIC MONDAY" in two versions: the single and an accoustic version. Another song written by Prince. Next Monday will be holidays so...


Video "MANIC MONDAY" acustico/accoustic:



The Drifters /Clyde McPhatter, Ben E. King, Rudy Lewis, Johnny Moore, Bill Pinkney, Charlie Thomas & Gerhart Thrasher)
Bob Dylan
The Supremes (Florence Ballard, Diana Ross & Mary Wilson)
Otis Redding
The Rolling Stones (Mick Jagger, Brian Jones, Keith Richards, Ian Stewart, Mick Taylor, Charlie Watts, Ronnie Wood & Bill Wyman)
The Temptations (Dennis Edwards, Melvin Franklin, Eddie Kendricks, David Ruffin, Otis Williams & Paul Williams)
Stevie Wonder
Hank Ballard
Bobby Darin
The Four Seasons (Tom DeVito, Bob Gaudio, Nick Massi, & Frankie Valli)
Four Tops (Renaldo "Obie" Benson, Abdul "Duke" Fakir, Lawrence Payton & Levi Stubbs)
The Kinks (Mick Avory, Dave Davies, Ray Davies & Peter Quaife)
The Platters (David Lynch, Herb Reed, Paul Robi & Tony Williams)
Simon & Garfunkel (Paul Simon & Art Garfunkel)
The Who (Roger Daltrey, John Entwistle, Keith Moon & Pete Townshend)
LaVern Baker
The Byrds (Gene Clark, Michael Clarke, David Crosby, Chris Hillman & Roger McGuinn)
John Lee Hooker
The Impressions (Arthur Brooks, Richard Brooks, Jerry Butler, Fred Cash, Sam Gooden & Curtis Mayfield)
Wilson Pickett
Jimmy Reed
Ike & Tina Turner (Ike Turner & Tina Turner)
Bobby "Blue" Bland
Booker T. & the M.G.'s (Steve Cropper, Donald "Duck" Dunn, Al Jackson, Jr., Booker T. Jones & Lewis Steinberg)
Johnny Cash
The Isley Brothers (Chris Jasper, Ernie Isley, Marvin Isley, O'Kelly Isley, Jr., Ronald Isley & Rudolph Isley)
The Jimi Hendrix Experience (Jimi Hendrix, Mitch Mitchell & Noel Redding)
Sam & Dave (Sam Moore & Dave Prater)
The Yardbirds (Jeff Beck, Eric Clapton, Chris Dreja, Jim McCarty, Jimmy Page, Keith Relf & Paul Samwell-Smith.[30]
Ruth Brown
Cream (Ginger Baker, Jack Bruce & Eric Clapton)
Creedence Clearwater Revival (Doug Clifford, Stu Cook, John Fogerty & Tom Fogerty)
The Doors (John Densmore, Robby Krieger, Ray Manzarek & Jim Morrison)
Frankie Lymon & The Teenagers (Frankie Lymon, Sherman Garnes, Jimmy Merchant, Joe Negroni & Herman Santiago)
Etta James
Van Morrison
Sly & the Family Stone (Gregg Errico, Larry Graham, Jerry Martini, Cynthia Robinson, Freddie Stone, Rosie Stone, Sly Stone)
The Animals (Eric Burdon, Chas Chandler, Alan Price, John Steel, Hilton Valentine)
The Band (Rick Danko, Levon Helm, Garth Hudson, Richard Manuel, Robbie Robertson)
Duane Eddy
Grateful Dead (Tom Constanten, Jerry Garcia, Donna Godchaux, Keith Godchaux, Mickey Hart, Robert Hunter, Bill Kreutzmann, Phil Lesh, Ron McKernan, Brent Mydland, Bob Weir & Vince Welnick)
Elton John
John Lennon
Bob Marley
Rod Stewart
The Allman Brothers Band (Duane Allman, Gregg Allman, Dickey Betts, Jai Johanny Johanson, Berry Oakley & Butch Trucks)
Al Green
Janis Joplin
Led Zeppelin (John Bonham, John Paul Jones, Jimmy Page & Robert Plant)
Martha and the Vandellas (Martha Reeves, Rosalind Ashford, Betty Kelly, Lois Reeves & Annette Sterling)
Neil Young
Frank Zappa
David Bowie
Gladys Knight & the Pips (Gladys Knight, William Guest, Merald Knight & Edward Patten)
Jefferson Airplane (Marty Balin, Jack Casady, Spencer Dryden, Paul Kantner, Jorma Kaukonen, Grace Slick)
Little Willie John
Pink Floyd (Syd Barrett, David Gilmour, Nick Mason, Roger Waters, Rick Wright)
The Shirelles (Shirley Alston Reeves, Addie Harris, Doris Kenner-Jackson, Beverly Lee)
The Velvet Underground (John Cale, Sterling Morrison, Lou Reed, Maureen Tucker)
Bee Gees (Barry Gibb, Maurice Gibb, Robin Gibb)
Buffalo Springfield (Richie Furay, Dewey Martin, Bruce Palmer, Stephen Stills, Neil Young)
Crosby, Stills & Nash (David Crosby, Graham Nash, Stephen Stills)
The Jackson 5 (Jackie Jackson, Jermaine Jackson, Marlon Jackson, Michael Jackson, Tito Jackson)
Joni Mitchell
Parliament-Funkadelic (Jerome Brailey, Bootsy Collins, Raymond Davis, Tiki Fulwood, George Clinton, Glenn Goins, Michael Hampton, Fuzzy Haskins, Eddie Hazel, Walter Morrison, Cordell Mosson, William "Billy Bass" Nelson, Garry Shider, Calvin Simon, Grady Thomas & Bernie Worrell)
The Rascals (Eddie Brigati, Felix Cavaliere, Gene Cornish & Dino Danelli)
Don Felder, Glenn Frey, Don Henley, Bernie Leadon, Randy Meisner, Timothy B. Schmit and Joe Walsh.[53]
Fleetwood Mac (Lindsey Buckingham, Mick Fleetwood, Peter Green, Danny Kirwan, John McVie, Christine McVie, Stevie Nicks & Jeremy Spencer)
The Mamas & the Papas (Denny Doherty, Cass Elliot, John Phillips & Michelle Phillips)
Lloyd Price
Santana (Carlos Santana, Jose Chepito Areas, David Brown, Mike Carabello, Gregg Rolie & Michael Shrieve)
Gene Vincent
Billy Joel
Curtis Mayfield
Paul McCartney
Del Shannon
Dusty Springfield
Bruce Springsteen
The Staple Singers (Pops Staples, Cleotha Staples, Mavis Staples, Pervis Staples, Yvonne Staples)
Eric Clapton
Earth, Wind & Fire (Philip Bailey, Larry Dunn, Johnny Graham, Ralph Johnson, Al McKay, Fred White, Maurice White, Verdine White & Andrew Woolfolk)
The Lovin' Spoonful (Steve Boone, Joe Butler, John Sebastian & Zal Yanovsky)
The Moonglows (Prentiss Barnes, Harvey Fuqua, Peter Graves, Bobby Lester & Billy Johnson)
Bonnie Raitt
James Taylor
Aerosmith (Tom Hamilton, Joey Kramer, Joe Perry, Steven Tyler & Brad Whitford)
Solomon Burke
The Flamingos (Jake Carey, Zeke Carey, Johnny Carter, Tommy Hunt, Terry "Buzzy" Johnson, Sollie McElroy, Nate Nelson & Paul Wilson)
Michael Jackson
Queen (John Deacon, Brian May, Freddie Mercury & Roger Taylor)
Paul Simon
Steely Dan (Walter Becker & Donald Fagen)
Ritchie Valens
Isaac Hayes
Brenda Lee
Tom Petty and the Heartbreakers (Tom Petty, Ron Blair, Mike Campbell, Howie Epstein, Stan Lynch & Benmont Tench)
Gene Pitney
Ramones (Dee Dee Ramone, Joey Ramone, Johnny Ramone, Marky Ramone & Tommy Ramone)
Talking Heads (David Byrne, Chris Frantz, Jerry Harrison, Tina Weymouth)
Jackson Browne
The Dells (Verne Allison, Chuck Barksdale, Johnny Carter, Johnny Funches, Marvin Junior & Michael McGill)
George Harrison
Bob Seger
Traffic (Jim Capaldi, Dave Mason, Steve Winwood & Chris Wood)
ZZ Top (Billy Gibbons, Dusty Hill & Frank Beard)
Buddy Guy
The O'Jays (Eddie Levert, Bobby Massey, William Powell, Sammy Strain & Walter Williams)
Pretenders (Chrissie Hynde, Martin Chambers, Pete Farndon & James Honeyman-Scott)
Percy Sledge
U2 (Bono, The Edge, Adam Clayton & Larry Mullen)
Black Sabbath (Geezer Butler, Tony Iommi, Ozzy Osbourne & Bill Ward)
Blondie (Deborah Harry, Clem Burke, Jimmy Destri, Nigel Harrison, Frank Infante, Chris Stein & Gary Valentine)
Miles Davis
Lynyrd Skynyrd (Bob Burns, Allen Collins, Steve Gaines, Ed King, Gary Rossington, Billy Powell, Artimus Pyle, Ronnie Van Zant & Leon Wilkeson.)
Sex Pistols (Paul Cook, Steve Jones, Glen Matlock, Johnny Rotten & Sid Vicious)
Grandmaster Flash and The Furious Five (Grandmaster Flash, Cowboy, Kidd Creole, Melle Mel, Rahiem & Scorpio)
R.E.M. (Bill Berry, Peter Buck, Mike Mills & Michael Stipe)
The Ronettes (Ronnie Spector, Estelle Bennett & Nedra Talley)
Patti Smith
Van Halen (Michael Anthony, Sammy Hagar, David Lee Roth, Alex Van Halen & Eddie Van Halen)
The Dave Clark Five (Dave Clark, Lenny Davidson, Rick Huxley, Denny Payton & Mike Smith)
Leonard Cohen
John Mellencamp
The Ventures (Bob Bogle, Nokie Edwards, Gerry McGee, Mel Taylor & Don Wilson)
Jeff Beck
Little Anthony & The Imperials (Anthony Gourdine, Clarence Collins, Tracy Lord, Glouster "Nat" Rogers, Sammy Strain & Ernest Wright Jr.)
Metallica (Cliff Burton, Kirk Hammett, James Hetfield, Jason Newsted, Robert Trujillo, & Lars Ulrich)
Run-D.M.C. (Darryl "D.M.C." McDaniels, Jason "Jam-Master Jay" Mizell & Joseph "DJ Run" Simmons)
Bobby Womack
ABBA (Agnetha Fältskog, Benny Andersson, Björn Ulvaeus, & Anni-Frid Lyngstad)
Genesis (Peter Gabriel, Tony Banks, Phil Collins, Steve Hackett & Mike Rutherford)
Jimmy Cliff
The Hollies (Bernie Calvert, Allan Clarke, Bobby Elliott, Eric Haydock, Tony Hicks, Graham Nash & Terry Sylvester)
The Stooges (Iggy Pop, Ron Asheton, Scott Asheton, James Williamson & Dave Alexander)

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