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| Rola: | Lalena |
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| Traducción: | Lalena | |
| Compositor: | Donovan Leicht | |
| Intérprete: | Deep Purple | |
| Incluída en el L.P. | Deep Purple III | |
| Orden al bat: | 155 | |
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Cuando Donovan compuso Lalena, sincretizó el nombre de la actriz alemana Lotte Lenya, quin lo había impresionado con su actuación en la versión cinematográfica de la Ópera de los Tres Centavos compuesta por Kurt Weill marido de la misma Lotte) y Bertold Brecht. Recuerda Donovan: "Pensé: De acuerdo, es una callejera, pero en la historia del mundo, en todas las naciones, la mujer ha jugado varios roles de monja, prostituta, madre, doncella o esposa. Este aspecto de poder sexual es muy prominente. Las mujeres juegan roles a los que son empujadas y los actúan de la mejor forma que ellas pueden, así es que la manera en la que yo estoy describiendo el carácter de Lotte Lenya es jugando. Es un personaje que vive marginado en los límites de la sociedad". Esto podría explicar el verso "That's your lot in life, Lalena/I can't blame ya, Lalena" ("Es la vida que te tocó, Lalena/No te culpo"). Deep Purple, graba Lalena en su disco epónimo de 1969, un año después de que se publicara la versión de Donovan, siendo este el único "cover" utilizado por la banda inglesa, a diferencia de sus discos anteriores. Esta versión es una de las rolas más calmadas y tranquilas rolas en el repertorio de Deep Purple y nunca volvieron a tocarla en vivo después de 1969. En 1968, muchas niñas fueron llamadas Lalena, en honor a la rola y nosotros conocemos a una de ellas: Amanda Lalena, Amandititita, la hija del Rockdrigo. |
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| Duración: | 05:03 |
| Productor: | Derek Lawrence |
| Año: | 1969 |
| Formato: | L.P. |
| A la venta: | 21/06/1969 |
| Disquera: | Harvest |
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Rod Evans - lead vocals Nick Simper - bass, backing vocals Jon Lord - Hammond organ, keyboards, backing vocals Ian Paice - drums |
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Lalena
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Lalena
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When the sun goes to bed That's the time you raise your head That's your lot in life, Lalena Can't blame ya Lalena Arty-tart, la-de-da Can your part get much sadder? That's your lot in life, Lalena Can't blame ya Lalena Run your hand through your hair Paint your face with despair That's your lot in life, Lalena Can't blame ya Lalena Run your hand through your hair Paint your face with despair That's your lot in life, Lalena Can't blame ya Lalena When the sun goes to bed That's the time you raise your head That's your lot in life, Lalena I can't blame ya Lalena Arty-tart, oh, so la-de-da Can your part ever get, ever get much sadder? That's your lot in life, Lalena I can't blame ya No, no, no, Lalena Oh, Lalena |
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LADO A 1. "Chasing Shadows" 2. "Blind" 3. "Lalena" 4. "Fault Line / The Painter" |
LADO B 1. "Why Didn't Rosemary" 2. "Bird Has Flown" 3. "April" |
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Este es el tercer disco de Deep Purple, el último de la primer alineación también conocida como Mark I en la que aún estaba el vocalista Rod Evans y el bajista Nick Simper, y presumiblemente el mejor trabajo de esta Mark I. No sólo eso, sino que es uno de las mejores entregas de cualquier alineación de Deep Purple, opacada apenas por las joyas del ‘71-‘72. Este disco, también conocido por los fans como el Deep Purple III, quizá es su trabajo más psicodélico como banda, sí, más incluso que el Shades, y bastante superior, ya que no hay piezas vacías de pop, no hay malos covers (de hecho el único cover del disco es conmovedor!), no hay portadas desabridas, no hay letras vulgares, no hay piezas monótonas de rock como las que saldrían en la segunda mitad de los 70’s, y es un álbum perfectamente balanceado, con un gusto impecable, una gran variedad de estilos que van desde la delicadísima balada “Lalena” hasta tremendos blues rockers como “Why Didn't Rosemary” o “Bird Has Flown”, experimentales como “Fault Line” hasta pasajes entre clásicos-artísticos-progresivos como la inspiradísima “April”, que a pesar de su duración es una obra muy bien lograda y cuidada hasta el más mínimo detalle. Este disco dan diverso tiene tan buenos acabados por estar hecho entre los límites de la pasión de Richie por los riffs pesados e inteligentes de guitarra (y afortunadamente aquí Blackmore tiene mucho más peso que en el Taliesyn) y por otro lado balanceado con la adoración de Jon por la música clásica que los llevó a territorios cercanos al prog. Bueno, sin contar el “Concerto For Group & Orchestra”. En este punto parece que la banda aún no se decidía por alguna de las dos corrientes que presentaban, los rockers furiosos y sanguinarios, hechos con una maestría total y con un trabajo de guitarra aún en desarrollo, pero que ya daba nota de un genio en potencia a las 6 cuerdas. Y por otro lado, un sonido más tendiente a lo clásico, a buscar suites elaboradas y detalladas con el teclado de Lord como líder, creando estructuras complejas y mezclando sonidos que recuerdan en su elaboración a Procol Harum, Pink Floyd, Jethro Tull y King Crimson. Con en In Rock está claro cual fue la corriente que prevaleció en la Deep Purple, y me parece una decisión acertada; Lord aceptó la decisión y aún así supo mantenerse como un referente básico y un tremendo tecladista, aunque siempre me ha quedado la idea de que Deep Purple también pudo haber entrado a las grandes ligas del Art-Progresive. Pero la cuestión es que este disco no pegó no porque no fuera bueno, sino por esas cuestiones inexplicables del destino. El álbum es sólido de principio a fin, y algunos de los fans de Purple lo consideran su obra maestra por esa mezcla perfecta de psicodelia, de buenos y potentes riffs, solos creativos, y la dosis de elementos clásicos y complejidad musical proporcionados por Lord y Blackmore en un balance perfecto. Si Warner se hubiera avivado y hubiera dado apoyo y difusión al disco quién sabe si el disco hubiera sido un enorme trancazo como merecía ser, si Evans y Simper se hubieran mantenido y si el grupo hubiese seguido por terrenos del art-prog. Pero el hubiera no existe, y el hecho de que el disco haya pasado desapercibido por una broma cruel del destino no significa que no sea maravilloso ni que no lo podamos disfrutar hoy en día en toda su grandeza. |
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Deep Purple: Hertford
Deep Purple are an English rock band formed in Hertford in 1968. Along with Led Zeppelin and Black Sabbath, they are considered to be among the pioneers of heavy metal and modern hard rock, although some band members believe that their music cannot be categorised as belonging to any one genre. The band incorporated classical music, blues-rock, pop and progressive rock elements. They were once listed by the Guinness Book of World Records as "the loudest pop group", and have sold over 100 million albums worldwide. Deep Purple were ranked #22 on VH1's Greatest Artists of Hard Rock programme. The band has gone through many line-up changes and an eight-year hiatus (1976–84). The 1968–76 line-ups are commonly labelled Mark I, II, III and IV. Their second and most commercially successful line-up featured Ian Gillan (vocals), Jon Lord (keyboards), Roger Glover (bass), Ian Paice (drums) and Ritchie Blackmore (guitar). This line-up was active from 1969 to 1973 and was revived from 1984 to 1989 and again in 1993, before the rift between Blackmore and other members became unbridgeable. The current line-up (including guitarist Steve Morse) has been much more stable, although Lord's retirement in 2002 has left Paice as the only original member never to have left the band. In October 1968, the group had success with a cover of Joe South's "Hush", which reached #4 on the US Billboard chart and #2 on the Canadian RPM charts. The song was taken from their debut album Shades of Deep Purple, which was released in July 1968, and they were booked to support Cream on their Goodbye tour. The band's second album, The Book of Taliesyn (including a cover of Neil Diamond's "Kentucky Woman"), was released in the United States to coincide with this tour, reaching #38 on the billboard chart and #21 on the RPM charts, although it would not be released in their home country until the following year. 1969 saw the release of their third album, Deep Purple, which contained strings and woodwind on one track ("April"). Several influences were in evidence, notably Vanilla Fudge (Blackmore has even claimed the group wanted to be a "Vanilla Fudge clone") and Lord's classical antecedents such as Bach and Rimsky-Korsakov. After these three albums and extensive touring in the United States, their American record company, Tetragrammaton, went out of business, leaving the band with no money and an uncertain future. (Tetragrammaton's assets were assumed by Warner Bros. Records, who would release Deep Purple's records in the US throughout the 1970s.) Returning to England in early 1969, they recorded a single called "Emmaretta", named for Emmaretta Marks, then a cast member of the musical Hair, whom Evans was trying to seduce. This would be the band's last recording before Evans and Simper were fired. In search of a replacement vocalist, Blackmore set his sights on 19 year old singer Terry Reid, who only a year earlier declined a similar opportunity to front the newly forming Led Zeppelin. Though he found the offer "flattering" Reid was still bound by the exclusive recording contract with his producer Mickie Most and more interested in his solo career.[16] Blackmore had no other choice but to look elsewhere. The band hunted down singer Ian Gillan from Episode Six, a band that had released several singles in the UK without achieving their big break for commercial success. Six's drummer Mick Underwood – an old comrade of Blackmore's from his Savages days – made the introductions of Gillan and bassist Roger Glover. This effectively killed Episode Six and gave Underwood a guilt complex that lasted nearly a decade – until Gillan recruited him for his new post-Purple band in the late 1970s. This created the quintessential Deep Purple Mark II line-up, whose first, inauspicious release was a Greenaway-Cook tune titled "Hallelujah", which flopped. The band gained some much-needed publicity with the Concerto for Group and Orchestra, a three-movement epic composed by Lord as a solo project and performed by the band at the Royal Albert Hall with the Royal Philharmonic Orchestra, conducted by Malcolm Arnold. Together with Five Bridges by The Nice, it was one of the first collaborations between a rock band and an orchestra although, at the time, certain members of Deep Purple (Blackmore and Gillan especially) were less than happy at the group being tagged as "a group who played with orchestras" when actually what they had in mind was to develop the band into a much tighter, hard-rocking style. Despite this, Lord wrote and the band recorded the Gemini Suite, another orchestra/group collaboration in the same vein, in late 1970. |
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Donovan (original), Helena Vondráčková (en checo), Jane Olivor
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