And there's a lot of possibilities, whom to cover. So when I was thinking about the next album, there were actually a lot of options, and there are still a lot of possible albums. It was just a matter of finding the right moment for the right project, talking to Argenis and to the management, it was just a question of feeling what could be the most interesting.
To Album), on a musical level it was all equally entertaining, it could have been anything, basically. So I started to cut up Latin loops…. So the first one wasn't covers, just your compositions in a cut-up Latin style. Exactly, and more track-oriented, like cutting up Latin music in a track style.
So then the Kraftwerk cover project was the one that gained you the most notoriety, then Fiesta Songs had Sade, Michael Jackson, "Smoke on the Water," etc.
The thing was that after the Kraftwerk covers, I didn't want to do the same thing over again, make a Depeche Mode album Album) whatever. I saw the concept more loosely, and I just wanted to have an entertaining collection of music, mainly being inspired by a series of releases from the '60s and '70s from Latin artists, who did basically that, just threw together their favorite songs and covered them, mixed them with their own stuff.
It was quite a relaxed concept. And I felt like after Fiesta Songs it could be more entertaining to go back to that one-artist concept, but since I don't really like to repeat myself, I wanted to expand it on a musical level too.
I think Yellow Fever for that reason is like a blend of the last three albums; it has these cut-and-paste kind of track interludes between the songs, which are very abstract and programmed but played by guest musicians and then cut up. So production-wise it's like a blend of the last three albums, which was my way of making this album entertaining, of finding a new approach and going to the next level. Why YMO?
Are you a longtime fan? Were they influential to your own musical upbringing? As compared to Kraftwerk, they were. I sort of missed Kraftwerk, I was too young when they were famous, and when I really got interested in music, it was the last album — so I missed them [in their prime] and got into them for different reasons.
Which doesn't mean I wouldn't appreciate them, but they weren't really important for my musical socialization. On the other hand, when I was like 16 or 17 and I started to listen to non-commercial electronic music, I got really interested in industrial and noise and that kind of stuff, and then for a short period into Electronic Body Music, and then techno came up. And house and acid and all that.
But all the music I listened to had a very similar attitude, a very similar feeling — like the European electronica was always a bit dense, and especially EBM was a bit dark and aggressive, and even I would say that commercial electronica like Depeche Mode and the new wave stuff had a depressive, melancholic feel to it. And then a friend of mine, around '85 or '86, gave me a mix tape of YMO and Sakamoto and Hosono and other Japanese artists of that time, which were released on Alpha records….
It was after YMO's success, and it was more about their solo works. And what really struck me was that the attitude was totally different; it was a totally positive understanding of music—sometimes funny, and always very positive, in a futuristic sense, but without the futurist pathos.
Not "we are the future," just a very modern Japanese attitude. The Japanese, I would say, are not very philosophical about progress, they just do it. While Europeans are always very reflective about it. The Japanese just do it; they always had the newest equipment, the newest sound, they recorded digitally in the '80s, and all that was a very positive feeling.
And that was really a switch the first time I listened to Japanese electronic music, it was a really different horizon to me. I was like, wow, that's a different approach — and I think it triggered a lot about how I perceived my own work back then, the possibilities and especially a certain attitude towards making music.
I think you can see a certain degree of a sense of humor in YMO; or if not humor—although there was a record with comedy sketches interspersed between the songs, and for instance on "Pure Jam," the lyric "This must be the ugliest piece of bread I've ever eaten," there's a sense of absurdity that seems very different from the European sense of darkness you're describing. Exactly, I think that was the point of it, and also something I realized just recently when investigating the histories of the memberes of Yellow Magic and their backgrounds, that for them exotica was a very big influence.
And a totally different type of music than what I listened to or what I knew. They did rock and blues in the early days with Japanese traditional music, and finally when I started listening to Japanese music, I started listening to Martin Denny—it was a totally different thing to me, I never connected those.
They covered Martin Denny; also Hosono once showed me a picture of him and Martin Denny; he's such a big fan he once flew to Hawaii and visited him. And then I realized there was a certain synchronicity with the exotica approach, which they sort of merged with their Japanese background—the production, the melodies, it's all a very traditional perspective on music.
So Tour De France (Merengue) - Señor Coconut Y Su Conjunto* - El Baile Alemán (Vinyl there were lots of pieces of the puzzle falling together, which I found quite impressive. How did the members of YMO respond when you approached them with the project?
I made two albums with Hosono in the mid '90s, '95 and '97; the project was me and my friend Tetsu Inoue from New York, and Hosono, and it was called H. I knew Hosono from before and he was visiting me in Santiago when I had just moved here in '98; he came here and we recorded parts of the second album here, and I visited him in Japan, and every time I'm in Japan I try to see him.
It's not a frequent contact we have, but it's still a contact. And when I started working on the record, it was a bit difficult to get in touch with them because of the management topic in Japan; you have to go through management and even though I was in personal touch with them, I could not approach them on a business level.
Until we just contacted Sakamoto directly, in parallel through his management, and everybody was really into it, and I sent them a couple of demo mixes and they said, Yeah, great! It's really entertaining, and if we can participate, if it's possible we will. I think it's a bit in their line of musical history; it's kind of like twisting it again. They covered Martin Denny and all this background and transformed it into futuristic '80s pop, and now I'm transforming it back into the original thing.
I think they find that entertaining too. How did you select the songs to include? Was there a process of experimentation to determine LP would be more adaptable to the Coconut style? This time it was a bit more difficult than the times before; for instance on the Kraftwerk covers, it was very much just a musical decision of trying to imagine the flow of the album, and saying ok, how many fast songs, how many slow songs, how many cha-cha-chas compared to the number of cumbias.
That was more the perspective because there were so many songs that worked that in the end it was more like a stylistic process. The next album was a bit the same; I had a long list of songs and it was more about finding the right mix for the album. While on Yellow Fever, it was a bit more complex because not all the songs had been composed by all three of them together, but they were usually separate compositions—one song would be only by Sakamoto, one only by Hosono, one only by Takahashi—and there were very few mixed compositions where all of them are involved.
So that was one concern, trying not to just pick Sakamoto songs or just Hosono songs; and at the same time it was important to get the songs I liked and had selected transposed into the Coconut style, which was not possible for all of them.
And at the same time, I needed to get an interesting flow on the album, so they were three parameters that were really difficult to match up; it was quite a headache at times. And one more factor to think of, there were singles and hits in certain territories, so the record company wanted to include the singles and hits and the better known songs. So it was a very difficult selection to make, trying to have it be well done on a musical level but also to satisfy the needs of the original record companies and also trying not to offend the musicians because there weren't enough songs from each of them….
But they were the best I could do, bearing all these parameters in mind. Listening back to the originals after hearing your versions, I was struck by how many Latin elements were already there, implicit in their original rhythms. From your acquaintance with them, do you think they were aware of it at the time? Was that an explicit influence? I think that they're very good musicians and very well-informed musicians with long histories of making and listening to music, and they have a huge knowledge of musical styles; I think all these bits of information you just have subconsciously available when you want to make a groove or something.
It's not that you say, ok, is that syncopated or not, it's more like, does it move or not? Does it swing or not? How did you go about creating the versions this time? What sort of studio technologies did you use? Let me tell you a bit about the development of the last albums. The first one was basically sampling from CDs and programming; there were no songs involved so it was just cutting up tracks. Also very few vocals. This was and is still a nice idea but the truth is far more complex.
Due to the relatively cheap availability of drum machines and synthesisers from Japanese companies like Roland the feted and drum machines both originated in this period something was bound to happen anyway. Add to this the fact that many of the early DIY house records were electronic by default- made by disco-obsessed producers who would really have preferred a 50 piece orchestra had they been able to afford it.
Where do we stand? We had no father figures, no continuous tradition of entertainment. Through the '50s and '60s, everything was Americanized, directed toward consumer behavior. We were part of this movement, where suddenly there were possibilities, then we started to establish some form of German industrial sound. The breakthrough came with 's Trans-Europe Express : again, the concentration on speed, travel, pan-Europeanism.
The album's center is the minute sequence that simulates a rail journey: the click-clack of metal wheels on metal rails, the rise and fade of a whistle as the train passes, the creaking of coach bodies, the final screech of metal on metal as the train stops.
If this wasn't astounding enough, 's Man Machine further developed ideas of an international language, of the synthesis between man and machine. Trans-Europe Express - Kraftwerk [Amazon. Europe Endless 2.
The Hall Of Mirrors 3. Showroom Dummies 4. Trans-Europe Express 5. Metal On Metal 6. Franz Schubert 7. Endless It's ironic that electronica's forefathers include two German bands whom, at least on the surface, were polar opposites. On the one hand, there was Can--shaggy, Stockhausen-trained advocates of trance improvisation--and on the other, Kraftwerk: clean-cut control freaks and masters of the pristine machine groove.
Yet, even at their most robotic, Kraftwerk manages to locate the soul of the machine, as they demonstrate throughout this outing. Hell, Album), the mannequin manifesto "Showroom Dummies" alone is worth the price of admission.
For a band so closely tied to technology, it's a testament to Ralf and Florian that their music continues to sound fresh more than two decades down the autobahn.
Expo [from single Tour De France, ] Trans Europe Express [from EL BAILE ALEMÁN, ] Smooth Operator [from FIESTA SONGS, ] The Robots [from EL BAILE ALEMÁN, ] Electrolatino (Album Version) [from FIESTA SONGS, ] Tour de France [from EL BAILE ALEMÁN, ] Beat It! [from FIESTA SONGS, ]. El Baile Aleman - Senor Coconut Y Su Conjunto: derbattmogegefilykornorolsoftcat.xyzinfo: Musik Zum Hauptinhalt derbattmogegefilykornorolsoftcat.xyzinfo Hallo, Anmelden [Vinyl LP] B's. 4,6 von 5 Auch wie die Senores den Refrain zu 'Tour de France' mit starkem spanischen Akzent zum besten geben, treibt einem die Tränen in die Augen. Doch man würde der Platte einfach unrecht tun, wenn man sie. El Baile Alemán () compuesto por revisiones tropicalizadas de piezas originales de la emblemática agrupación electrónica Kraftwerk. El resultado fue telúrico, una extraña mezcla de calidez latina y metronómica frialdad alemana, siendo recibido con el mismo placer por los aficionados de ambos polos, los amantes de la electrónica y el krautrock y los más cercanos a la música latina. Su baile se concentra en dos pasos y el movimiento de la cadera. Trujillo y el Perico Ripiao: Como otros ritmos populares, el merengue era rechazado por los defensores de la "alta cultura", pero con el ascenso del dictador Rafael Leonidas Trujillo el merengue comenzó a popularizarse en casi todas las . Oct 01, · 50+ videos Play all Mix - el mejor baile de merengue del mundo YouTube; el mejor merengue del mundo festival dominicano montreal - Duration: juan maria 52, views. Tour De France (Merengue) Lyrics: Tour de France, Tour de France / L'enfer du Nord Paris-Roubaix / Tour de France, Tour de France / La Cote d'Azur et Saint-Tropez / Tour de France, Tour de France. Dec 08, · referencing El Baile Alemán, LP, Album, EMN Absolute masterpiece. Along with the likes of Balanescu Quartet, Señor Coconut's entertaining vision of the German foursome through a palette of Latin sounds is one of the best such cover excursions, let alone giving Kraftwerk a completely new reflection in their own hall of mirrors/5(). Aug 09, · 50+ videos Play all Mix - MERENGUE - EL BAILE DEL MONO-Coreografía en Zumba YouTube PITBULL FT. SENSATO Y OSMANI GARCIA – EL TAXI (EL BAILE TAXI/THE TAXI DANCE) BY ALEJANDRO ANGULO - Duration. I found some Dvorak and Puccini that I was quite happy to leave with, when I came across this blast from the past: El Baile Alemán by the fantastic Senõr Coconut Y Su Conjunto. I first encountered Senõr Coconut’s reworking of popular music into various Latin styles nearly ten years ago, his excellent cover of Daft Punk’s Around The World. „El Baile Aleman“ erschien unter dem bisher unbekannten Pseudonym Señor Coconut y su Conjunto 2 am Juni bei dem bis dato ebenso unbekannten Label Multicolor Recordings 3. Titel und Pseudonym lassen eine Salsagruppe vermuten, hinter Señor Coconut verbirgt sich jedoch der deutsche Programmierer Uwe Schmidt.
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