Janis Joplin – Pearl Čak i iz groba žestoka Dženis je odbijala da nestane sa sce- ne. Pearl , posthumni album objavljen tri meseca nakon nje- ne smrti 1970. godine, naglasio je evoluciju u zreliji zvuk. Ovde više nije bila ograničena psihodeličnim bendom, pa su pesme bile čvršce od onih na debiju 1969. godine. Bluz otvaranje Move Over trebalo je da bude radio hit, Cry Baby , natopljen očajem, postao je soul-bluz standard, a njena in- terpretacija pesme Krisa Kristofersona Me and Bobby Mc - Gee uzbudljiv preokret u klasičnom kantriju. Sa ovim albu- mom, s ljubavlju naslovljenim njenim nadimkom, Dženis je postala više od puke statistike Kluba 27 – postala je jedin- stvena, veličanstvena pevačica.
Rolling Stones – Sticky Fingers Deveti studijski album Stonsa odmah je ostavio utisak svo- jom naslovnicom koju je dizajnirao Endi Vorhol, a na kojoj su naglašeni muško međunožje i funkcionalni rajsferšlus. Pe- sme su to samo potvrdile – bluz majstorija Brown Sugar i nežni Wild Horses su Sticky Fingers učinile prvim albumom koji je stigao na prvo mesto u Americi i Velikoj Britaniji. U in- tervjuu za Guitar World 2005. godine Kit Ričards je otkrio da je pesma Can’ t You Hear Me Knockin jedna od njego- vih omiljenih. ROLLING STONES – STICKY FINGERS The Rolling Stones’ ninth studio album made an immediate impression with its Andy Warhol-designed cover, featuring a man’s bulging crotch and a functional zip. The songs sealed the deal, with the bluesy Brown Sugar and twangy Wild Hors- es helping to make Sticky Fingers the band’s first No.1 album in both the U.S. and UK charts. In a 2005 Guitar World inter- view, Keith Richards admitted that Can’t You Hear Me Knock- in’ was one of his favourite Stones tracks.
JANIS JOPLIN – PEARL Even from beyond the grave, the feisty Janis Joplin refused to let her presence diminish. Pearl, the posthumous album re- leased three months after her 1970 death, highlighted her evolution into a more mature sound. No longer confined to the psychedelic band, and armed with songs sturdier than those on her 1969 debut, the album’s bluesy, polished open- er, Move Over, should have been a radio hit; the track Cry Ba- by, soaked in despair, is now a soul-blues standard; and her cover of Kris Kristofferson’s Me and Bobby McGee is an excit- ing twist on classic country. With Pearl, lovingly named after her own nickname, Joplin was more than just a 27 Club statis- tic — she became a singer of singular grandeur.
Tekst/Words: Jelena Pantović Fotografije/Photography: Profimedia.rs
Music » Muzika | 51
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