Contenido de esta entrada:
Siguiente artículo de Pavlov's Dog:
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| Portada del álbum At The Sound Of The Bell |
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| Imagen de la edición en CD de 2009 |
Pavlov's Dog es una banda de rock progresivo de la década de 1970 formada en St. Louis, Missouri en 1972, llamada así por el principal animal experimental de Ivan Pavlov en su trabajo del condicionamiento clásico.
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| Ivan Pavlov |
Hay dos versiones sobre el nacimiento de la banda, según Mike Safron, él y Siegfried Carver decidieron crearla, pero la versión más conocida es que partieron de las cenizas de una pequeña banda llamada High On A Small Hill donde tocaban David Surkamp y Rick Stockton.
Pavlov's Dog originalmente estaba compuesto por el vocalista David Surkamp, el guitarrista Steve Levin, los teclistas David Hamilton y Doug Rayburn, el bajista Rick Stockton, el baterista Mike Safron y el violinista Siegfried Carver (nacido Richard Nadler). Levin dejó la banda durante el primer año y fue reemplazado por Steve Scorfina (anteriormente de REO Speedwagon).
Anterior artículo
En un anterior artículo comentamos sus comienzos y primer álbum Pampered Menial publicado en 1975: 1975: Pampered Menial y el perro de Pavlov.
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| Portada del álbum Pampered Menial de Pavlov's Dog |
En este artículo
En este articulo continuamos su historia hasta la publicación de su segundo álbum, At The Sound Of The Bell, en 1976.
Grabación
El violinista Siegfried Carver dejó la banda tras el lanzamiento del álbum debut de la banda, Pampered Menial. Tom Nickeson se unió a la formación en la guitarra; se pasó a los teclados cuando David Hamilton dejó la banda tras el lanzamiento del segundo álbum At the Sound of the Bell.
Durante 1975 fueron teloneros con artistas como ELO, Arrowsmith, Kraftwerk, Nektar y Blue Oyster Cult y sus actuaciones recibieron críticas muy favorables.
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| Cartes de uno de sus conciertos con la ELO |
Para la grabación de este segundo álbum, el baterista Mike Safron se ausentó por lo que fue sustituido por Bill Bruford que actuó como músico de sesión. Bruford tras su salida de King Crimson en 1974, optó por esperar una oferta atractiva mientras ganaba dinero como músico de sesión.
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| Bill Bruford en 2008 |
"Nunca había oído hablar de ellos", comentó Bruford más adelante, "pero recibí la llamada y Las sesiones americanas tendían a pagar mejor. Grabé cuatro días". Surkamp recuerda a Bruford como un aliado útil en medio de las ambiciones contradictorias de la banda.
Cuando Safron no apareció en los créditos del álbum como se le había prometido, dejó la banda de forma permanente y fue reemplazado por Kirk Sarkisian. Ya no hubo más cambios en la banda hasta su separación en 1977.
En la grabación intervinieron varios músicos como invitados entre los que destacan Michael Brecker, ganador del Grammy, Andy Mackay de Roxy Music y el guitarrista Elliott Randall.
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| Michael Brecker en 2004 |
El álbum fue grabado en el mes de octubre de 1975 en los estudios Record Plant de Nueva York con el ingeniero John Jansen con la ayuda de Sam Ginsberg. La mezcla la hizo el mismo ingeniero con la ayuda de Will Reid Dick.
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| John Jansen |
La producción corrió a cargo de Murray Krugman y Sandy Pearlman, quienes habían encontrado el éxito a principios de la década produciendo Blue Öyster Cult.
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| Murray Krugman |
Según el cantante David Surkamp, "la banda se estaba desmoronando" durante la grabación del álbum, ya que los miembros "querían ser compositores, pero ninguno de ellos podía escribir", excepto él y Doug Rayburn.
La música es simplemente increíble, ya que como la mayoría de las bandas de rock progresivo en Estados Unidos mezclaron progresivo sinfónico con rock duro. Los críticos asumieron que gracias al uso de dos melotrones, la influencia de la banda estaba en las grandes bandas británicas de rock progresivo como Yes o Genesis, pero Surkamp comentó: "Escuché música inglesa, pero mis raíces están en el folk. Pensé que Fairport Convención fueron brillantes. También me gustó mucho Robert Wyatt y familia".
Lanzamiento
El álbum debut fue lanzado en abril de 1976 con CBS en los Estados Unidos. No llegó a las listas.
También fue publicado en Canadá, Reino Unido, Países Bajos, Australia, Nueva Zelanda, Japón, Indonesia y Grecia.
El álbum alcanzó el puesto 37 en el Kent Music Report de Australia.
La portada del álbum muestra al modelo Michael Mantel vestido como el Jorobado de Notre-Dame. El diseño fue de John Berg y Andy Engel y las fotografías de Jerry Abramowitz.
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| Contraportada del álbum |
Recepción
Las emisoras de radio consideraron que la música no se ajustaba bien a la fórmula rock estándar de aquella época y sin promoción las ventas no fueron buenas. Surkamp comentó: "Supongo que éramos demasiado extraños. Fue un época en la que todo era una fórmula real, que no soporto, gente como Foreigner y Boston haciendo una cosa de rock muy normal". En Gran Bretaña, en los albores del punk, les sonaba el romanticismo de las letras de Surkamp totalmente anticuado.
Joe Viglione comentó en su reseña para AllMusic: ...La pregunta es, ¿a dónde iba? Demasiado pop para el rock progresivo, y demasiado progresivo para el Top 40, la música es impulsiva y más centrada..."Valkerie" tiene un gran gancho, de "traer de vuelta los buenos viejos tiempos", y la producción aquí es más limpia que la primera vez....Aventurero y significativo, The Sound of the Bell es un gran concepto y experiencia musical que se queda corto. Sin embargo, hay que darles una A por su esfuerzo.
Lista de temas
Todas las canciones acreditadas a David Surkamp, excepto donde se indique.
Lado 1
Lado 2
Enlace al álbum completo: Pavlov'S Dog – At the Sound of the Bell "1976"
Créditos
- David Surkamp: voz, guitarra acústica, guitarra Veleno
- Steve Scorfina: guitarra solista
- David Hamilton: órgano, piano, sintetizador
- Doug Rayburn: melotrón, bajo, percusión
- Rick Stockton: bajo
- Thomas Nickeson: guitarra acústica
- Bill Bruford: batería (como músico de sesión)
- Mike Abene: órgano
- Michael Brecker: saxofón
- George Gerich: órgano
- Andy Mackay: saxofón
- Les Nicol: guitarra
- Paul Prestopino: mandolina
- Elliott Randall: guitarra
- Gavyn Wright: violín
- Alto Wycombe Coro de Niños: voces
- Orquesta del Fiordo de la Montaña: cuerdas
Videos
Reediciones
Fue publicado por primera vez en CD en 1988. En 2010 fue publicado con Rockville remasterizado en CD con 3 bonus tracks adicionales.
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| Contraportada de la edición de 2010 |
Bonus tracks
Opinión personal
Para mí es un gran álbum de rock progresivo, casi tan bueno como el anterior. Es un poco menos roquero y más melódico con gran uso del melotrón que le da el tono sinfónico. Como mínimo, puedes disfrutar de Bill Bruford a la batería. El álbum comienza con She Came Shining, que el típico rock americano. Standing Here With You (Megan's Song) y Mersey son una bonitas baladas. Valkerie es el tema más progresivo del álbum y quizás el que más guste del álbum. Try To Hang On es rockabilly con aires jazzistas. Gold Nuggets es otra bonita balada. She Breaks Like A Morning Sky me suena demasiado pop. Early Morning On es otra balada un poco más animada. Did You See Him Cry cierra el álbum es un fantástico tema progresivo, broche de oro para el álbum. En resumen, una joya que cayó olvidada por el empuje de otros estilos como el punk.
Letras
"She Came Shining"
I used to see light in your eyes
But I don't see it anymore
And all those promises you made to me
I don't need them anymore
I used to waste hours in bed
And I came too close to follow
Follow you down
I used to phone you thousands of times
But now you never seem to call
And all the songs that I sung to you
I don't sing them anymore
I used to waste hours in bed
And I came too close to follow
Follow you down
And I'm leaving 'cause I'm all over you
And I'm leaving 'cause I'm all over you
And I'm leaving 'cause I'm all over you
And do you think that's fine
And I don't mind
And do you think that's fine
And I don't mind at all
'Cause she came shining
And she came shining
And she came shining
Oh, in Chinatown
It ain't never seemed so bad
I used to waste hours in bed
And I came too close to follow
Follow you down
"Standing Here With You (Megan's Song)"
Well, I lost all I was
And it's more than I tried to be
And this living here with you
And there's no one here beside me
And it don't come easy
And it don't come too hard
But I always wind up
Standing here with you
Always standing here with you
Always standing here with you
I'm always standing here with you
As you walk on side by side
And it shows
And when things just stay the same
And when people just don't grow so fast to know where
Where once I was a child
But I found I just can't stay like that
You say it doesn't matter
If things just stay the same
You say it doesn't matter
And then we'll maybe stay the same
Oh, when it really doesn't matter
If I really was to blame, no
Really were to blame
And sad that it shows
Well, I lost all I was
And it's more than I tried to be
And this living here with you
And there was no one here beside me
And it don't come easy
And it, it don't come too hard
But I always wind up
Standing here with you
Always standing here with you
Always standing here with you
And always standing here with you
And you walk on side by side
And it shows
Oh, and it shows
"Mersey"
Well, I saw your light last night
And I hoped that you were home
And I saw some shadows move
And I wished that I had phoned
Well, it seems like I was running scared
I guess now so were you
And Mersey I'll just save my love for you
You were the best girl that I ever knew
Mersey I'll just save my love for you
And all the other times
That I wished that you were here
And then everything went crazy
And when my head filled up with beer
Well, I claimed that I was Bogart
Oh, and you were my Bacall
And everything was just shattered by curtain call
You were the best girl that I ever knew
Mersey I'll just save my love for you
Well, I played that I was Bogart
Oh, and you were my Bacall
And everything was just shattered by curtain call
You were the best girl that I ever knew
Mersey I'll just save my love for you
I'll just save my love for you
Oh, and Mersey I don't think I'm over you
Oh, Mersey
"Valkerie"
And here you are, away from us all
And all you've got is champagne and tea for two
And so it goes on with the show
And all I hope, hope all your dreams will come true
And so it goes on with the show
And all I hope, hope all your dreams will come true
And bring back the good old days
Bring back the good old days
Bring back the good old days
Bring back the good old days
In time... always in your time
On and on, 'cause she's a long hard climb
Pure of heart 'cause she's so hard to find
All he'd lost was given clear and free
And for the love of a valkyrie
And here you are, away from us all
And all you've got is champagne and tea for two
And so it goes on with the show
And all I hope all your dreams will come true
And bring back the good old days
Bring back the good old days
Bring back the good old days
Bring back our good old days
In time, always in your time
All in time, always in your time
All in your time
The lovely good old days
Bring back the good old days
"Try To Hang On"
Why try to hang on
When you know that for sure that she's gone
You know, why even try when she goes away?
You let yourself go
And you know it's beginning to show
You know, why even try when she goes away?
It's all in the cards
And you know that you're losing the odds
Others say you're just lucky yourself
To just be alive
And now it seems now in time
And this plan comes into your mind
How to get your girl back
Even at the cost of some time
Even at the cost of some time
And now Even at the cost of some time
Do you think that it's worth it
Would you break in a cold sweat
And if you put yourself clear
Don't let them put you away
And if there is no use in crying
What good would it do to be lying
If you get your girl back
Don't let them put you away
Now you'd better hang on... I know
And get your girl back
You'd better hang on
...
"Gold Nuggets"
If you're looking for a star
Then chances are you won't go far
When you're searching in an awful funny way
And there's a glow from above
Your last chance for love
And it won't be here when morning shows her hand
It's a love you've been shown
And a time for being alone
'Cause people like me just keep running back for more
And now Caroline stop crying
It won't seem like a long long time
And I'll be here when the Rockies thaw in spring
I can't bring you 'cause it's just too cold
And while I'm out here digging alone
Well, I'll bring you home gold nuggets in the spring
And now sometimes while I'm out
If you think of things I'm without
Then you won't feel so sorry for yourself
'Cause it's clear when you're near
How things change and then
You'll get hungry for the gold you think I've found
I found, Caroline stop crying
It won't seem like a long long time
And I'll be here when the Rockies thaw in spring
I can't bring you 'cause it's just too cold
While I'm out here digging alone
Well, I'll bring you home gold nuggets in the spring
And when you're looking for a star
Chances are you won't go far
When you're searching in an awful funny way
And now Caroline stop crying
It won't seem like a long long time
And I'll be here when the Rockies thaw in spring
When I bring you home gold nuggets in the spring
"She Breaks Like A Morning Sky"
Well, close the door and grab your wraps
And don't even say why
There's a girl outside the door
With the moon and the stars in her eyes
You gotta be quick, you gotta be cool
You know what I mean
So grab your keys and grab your jeans
'Cause she's waiting outside for me
Ooh, over and over again
Ooh, over and over
And you know it feels alright
And you know as well as I
And you know is when she cries
She breaks like a morning sky
Now honey, dance the night away
I don't know where she came from
Or how long she can stay
All I know is she's mine tonight
And I don't know how long you can last now, baby
Ooh, over and over again
Ooh, over and over
And you know is it feels alright
And you know as well as I
And you know is when she smiles
She breaks like a morning sky
Now honey, dance the night away
Ooh, over and over again
Ooh, over and over
And you know it feels alright
And you know as well as I
And you know is when she smiles
She breaks like a morning sky
Well, then dance the night away
"Early Morning On"
Try for the mountains
Try for the mountains
'Cause you're already gone too long
You've got to reach for high places
Glide on a whirlwind
You're already gone too long
You've got to try for the mountains
And when you cry for the mountains
You're already gone too long
And you, can I count on you
Early morning on
And you, can I count on you
Early morning on
Oh no, oh no
And then you watch her go
I always offer you
The things I did alone
And though it's been quite some time
Since I brought you home new songs
And if at times it seems
I've wandered off to dream
Pass it off as Elsie
Wherever she may be
You, can I count on you
Early morning on
And you, can I count on you
Early morning on
Early morning on
...
"Did You See Him Cry"
How many times has he waited there
Beneath the boughs of angel hair
Woolen coat pulled tight against the wind
That whipped and chafed his face
And left him not much more
Apart from his old dreams
That new lovers cannot own
Or hope to ever know
What's behind an old man's lonely tears
When he's alone and the sun is high
The children laugh and he'd like to hide
Days like these seem to hang on for so long
They seem to drag him down
And leave him that much more apart
And he wishes someone would invite him home
To pass the time or to maybe find some time
Or maybe...
And did you see him cry?
Did you ever watch him pace
And all the ways he tries to hide his face
Misplaced all in a world not like his own
And did you ever stop to speak
Or hear him try to tell about
How she and he were lovers just like you
And they were just like you
Did you ever watch him pace
And all the ways he tries to hide his face
Misplaced all in a world not like his own
Did you ever stop to speak
Or hear him try to tell about
How she and he were lovers just like you
And they were just like you
Me ha gustado mucho el artículo y los temas que hay en este. Gracias y abrazo Federico.
ResponderEliminarMe alegro de que te haya gustado. Muchas gracias por comentar. Un abrazo Amaia
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