The War New York November '92 (2-CD)

The War: New York November '92 (2-CD)

(Luftschnitte) 7 Lieder

NEW YORK NOVEMBER '92

in der Anfang der 90er Jahre führten Rap-Samples War in eine neue Generation von Zuhörer und die Wiedereinführung älterer Fans in ihre bahnbrechenden 70er Jahre. Funk-rock. Ausstrahlung auf WBAI-FM in New York, diesen 13. November 1992 Der Auftritt im Wetlands Preserve Club der Stadt beinhaltet erweiterte Versionen von Hits wie 'Slippin' into Darkness', 'The Cisco Kid', 'The World Is a Ghetto' und 'Spill the Wine' sowie Aufführungen von Highlights aus ihren beliebtesten Alben.

Songs

Artikeleigenschaften von The War: New York November '92 (2-CD)

• Interpret: The War

• Albumtitel: New York November '92 (2-CD)

• Artikelart CD

• Genre Rock

• Erscheinungsjahr 2015

• Label AIR CUTS

• SubGenre Rock - Classic Rock

• EAN: 5292317802414

• Gewicht in Kg: 0.110

Interpreten-Beschreibung "War"

WAR

In the early-to-mid-1970s, War were among the most popular bands in the US. Their blend of funk, rock, and social commentary was heard on four Top Ten albums, as well as big hit singles like "The Cisco Kid," "Low Rider," and "The World Is a Ghetto." By the 1980s they'd fallen out of commercial favor, and by the second half of the decade, they seemed to have all but disappeared. Boosted by the use of War samples in hip-hop records, however, they made a comeback in the early 1990s, if one that saw them find more popularity in concert than on record. The show on this double CD dates from the period in which that comeback was getting underway in earnest. Performed at Wetlands Preserve in New York on November 13, 1992, these tracks were broadcast on that city's WBAI-FM station. Besides big hits like "The Cisco Kid," "Slippin' into Darkness," "The World Is a Ghetto," "Summer," and "Spill the Wine," the set included less celebrated songs that, like those hits, spanned several phases of the group's career.

Evolving from the late-1960s Long Beach, California band Nightshift, War began as a backup group for British singer Eric Burdon, who'd been a star with the Animals in the 1960s before setting off on his own. As Eric Burdon & War, they had a big 1970 hit with "Spill the Wine," War going their own way without Burdon shortly afterward. Without their initial lead singer, War actually became a bigger act, topping the LP charts in 1973 with The World Is a Ghetto. "Our music represents the signs of the times," drummer Harold Brown told Black Music in 1974. "I wrote a poem about that. It goes, 'Do you read your Bible to see what it says about the signs of the times? They are here today, murdering, tying, cheating, stealing; they are all a part of the signs of the times.' Our music is influenced by these signs. Some people try to call it soul music, some try to call it rock, we get insulted when they call it rock...I call it Street Jazz, because I pick up on all these rhythms from the street."

"Today the record industry is open to black music because it is fashionable," theorized Emmett Garner, promo man for Curtis Mayfield's Curtom Records, in Rolling Stone the same year. "The talent has always been around, but it's never been publicly exposed. In the past there was no such thing as a pop black band. But today they exist because bands are crossing over to white audiences. War has been popular because they've got a black-and-white feel. They've opened the door to white audiences. Black artists now feel it's all right to do their thing, because you've got a progressive R&B group like War getting the necessary exposure, opening the door." As cutting-edge as they were in the early-to-mid-'70s, War fell out of fashion and out of the charts as other trends in pop and R&B gained ascendance. For nearly a decade after 1985's Where There's Smoke, they didn't even put out an album. In that decade, however, they became (according to a November 1995 MOJO article) the third most rap-sampled funk act.

By the time they played Wetlands Preserve in November 1992, they were regaining a lot of popularity as a concert attraction, their lineup still including original members Lonnie Jordan (keyboards), Lee Oskar (harmonica), and Howard Scott (guitar). Besides including extended versions of several of their hits (with the Wailers' reggae classic "Get Up, Stand Up" worked into "Slippin' Into Darkness" and raps wedged into "Spill the Wine"), their Wetlands broadcast also presented some other vintage War tunes. "Nappy Head" had been on their 1971 album All Day Music (and the B-side of "Slippin' Into Darkness"), as had of course "All Day Music" itself. "City, Country, Music" was on its successor, The World Is a Ghetto, while "Don't Let No One Get You Down" was on the 1975 LP Why Can't We Be Friends? Interestingly, some comments from the stage before "Spill the Wine" on this broadcast indicate War were planning to talk with Eric Burdon about collaborating soon after this concert.

But the band and Burdon would not reunite, and although Burdon and War would do a one-off concert at London's Royal Albert Hall in 2008, by that time Lonnie Jordan was the only remaining original member. The band had closer ties to their origins at this 1992 concert, which found them basking in recognition as pioneers of sounds that broke down barriers between pop, rock, and R&B.

Presseartikel über The War - New York November '92 (2-CD)

Ihr Name*:

 

Zusammenfassung*:

 

Bewertung*: 10 sehr gut 9 8 7 6 5 4 3 2 1 sehr schlecht

 

Ihre Meinung:

 

Bitte geben Sie die Zahlenfolge in das nachfolgende Textfeld ein

 

 

Die mit einem * markierten Felder sind Pflichtfelder.