Genesis - Foxtrot

Genesis - Foxtrot

Japan 1994 VJCP 3209 - Obi

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De todos los grupos de principios de los 70, Genesis, junto a Yes y King Crimson son los mayores representantes del cambio de mentalidad que se iba consolidando en el panorama del rock. Aunaban una enorme inspiracion y un dominio magistral de los tiempos dentro de sus canciones. La instrumentacion pasaba de epicas orgias sonoras, a langidos y hermosos pasajes de piano, todo ensamblado por el genio de Gabriel, que en este disco compone uno de sus mejores temas, "Super Ready", una suite de mas de 20 minutos donde de mezcla melancolia y fuerza de manera magistral.

Foxtrot is where Genesis began to pull all of its varied inspirations into a cohesive sound -- which doesn't necessarily mean that the album is streamlined, for this is a group that always was grandiose even when they were cohesive, or even when they rocked, which they truly do for the first time here. Indeed, the startling thing about the opening "Watcher of the Skies" is that it's the first time that Genesis attacked like a rock band, playing with a visceral power. There's might and majesty here, and it, along with "Get 'Em Out by Friday," is the truest sign that Genesis has grown muscle without abandoning the whimsy. Certainly, they've rarely sounded as fantastical or odd as they do on the epic 22-minute closer "Supper's Ready," a nearly side-long suite that remains one of the group's signature moments. It ebbs, flows, teases and taunts, see-sawing between coiled instrumental attacks and delicate pastoral fairy tales. If Peter Gabriel remained a rather inscrutable lyricist, his gift for imagery is abundantly, as there are passages throughout the album that are hauntingly evocative in their precious prose. But what impresses most about Foxtrot is how that precociousness is delivered with pure musical force. This is the rare art-rock album that excels at both the art and the rock, and it's a pinnacle of the genre (and decade) because of it.



Watcher Of The Skyes
Observador de los cielos, observador de todo
el suyo es un mundo solitario, ningún mundo es suyo
El, a quien la vida ya no puede sorprender
alzando los ojos contempla un planeta desconocido.

Las criaturas formaron el suelo de este planeta
ahora su reino toca a su fin
¿Ha destruido la vida otra vez a la vida?
¿Juegan en otro lugar, saben algo más que sus juegos infantiles?
Quizás el lagarto se haya desprendido de su cola
este es el fin de la larga unión del hombre con la Tierra.

No juzgues a esta raza por sus restos vacíos
juzga a Dios por sus criaturas cuando estés muerto
pues ahora el lagarto se ha desprendido de su cola
este es el fin de la larga unión del hombre con la Tierra.

De la vida sola a la vida como única
no creas que tu viaje ha terminado
pues aunque tu barco sea resistente, el mar no tiene piedad
sobrevivirás en el océano del ser
Vengan, niños antiguos, escuchen lo que les digo
este es mi consejo de despedida para vuestro camino.

Ahora, tristemente, tus pensamientos vuelven a las estrellas
sabes que adonde fuimos no puedes ir,
observador de los cielos, observador de todo
este es tu único destino, este es tu único destino.

Lou Reed - Transformer
[Expanded Edition 2002] Bonus Traks

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David Bowie has never been shy about acknowledging his influences, and since the boho decadence and sexual ambiguity of the Velvet Underground's music had a major impact on Bowie's work, it was only fitting that as Ziggy Stardust mania was reaching its peak, Bowie would offer Lou Reed some much needed help with his career, which was stuck in neutral after his first solo album came and went. Musically, Reed's work didn't have too much in common with the sonic bombast of the glam scene, but at least it was a place where his eccentricities could find a comfortable home, and on Transformer Bowie and his right-hand man, Mick Ronson, crafted a new sound for Reed that was better fitting (and more commercially astute) than the ambivalent tone of his first solo album. Ronson adds some guitar raunch to "Vicious" and "Hangin' Round" that's a lot flashier than what Reed cranked out with the Velvets, but still honors Lou's strengths in guitar-driven hard rock, while the imaginative arrangements Ronson cooked up for "Perfect Day," "Walk on the Wild Side," and "Goodnight Ladies" blend pop polish with musical thinking just as distinctive as Reed's lyrical conceits. And while Reed occasionally overplays his hand in writing stuff he figured the glam kids wanted ("Make Up" and "I'm So Free" being the most obvious examples), "Perfect Day," "Walk on the Wild Side," and "New York Telephone Conversation" proved he could still write about the demimonde with both perception and respect. The sound and style of Transformer would in many ways define Reed's career in the 1970s, and while it led him into a style that proved to be a dead end, you can't deny that Bowie and Ronson gave their hero a new lease on life -- and a solid album in the bargain. [This edition adds the acoustic demo versions of "Hangin' 'Round" and "Perfect Day."]

01. Vicious
02. Andy's Chest
03. Perfect Day
04. Hangin' 'Round
05. Walk On The Wild Side
06. Make Up
07. Satellite Of Love
08. Wagon Wheel
09. New York Telephone Conversation
10. I'm So Free
11. Goodnight Ladies
12. Hangin' 'Round (Acoustic Demo)
13. Perfect Day (Acoustic Demo)

Gracias a mi amigo Jeff por dejarme este magnifico disco en la edición remasterizada.

The Kinks - Percy

The Kinks - Percy

Pop Rock (Soundtrack) 1971 (Ed. 1989)
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AMG: Ray Davies and company had already participated in one failed television musical when the movie Percy came along -- it wasn't as original as Arthur, nor did Davies have nearly as much to do with its creation, but he still outdid himself given the material at hand. Directed and co-produced by Ralph Thomas, who had been responsible for some brilliant thrillers (The Clouded Yellow, Above Us the Waves) and very popular comedies (Doctor in the House) in past decades, Percy was the story of the world's first penis transplant (it was probably inspired, or at least justified, by big-budget efforts of the period like Myra Breckinridge). Although virtually unseen in the United States, it was still popular enough to yield a sequel (Percy's Progress), but its real impact came from its soundtrack. Davies wrote some hauntingly beautiful ballads and some solid blues and country as well -- "God's Children" and "Animals in the Zoo" have turned up on some career anthologies, but there's a lot more to Percy than those two tracks. "Completely" is as fine a slow blues as the band ever recorded, with a sizzling performance by Dave Davies, and "Dreams" is a pretty solid rocker, even up alongside "Animals in the Zoo." To this day the album has never appeared in the U.S. catalog -- recorded at the tail end of their contract with Pye Records in England and Warner/Reprise in America, and connected with a movie that was never going to see much exposure in the U.S.A., Reprise passed on it at the time.

Bob Seger - Face The Promise (2006)

Bob Seger
Face The Promise

2006
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AMG: Bob Seger quietly faded into a semi-retirement after 1995's It's a Mystery, choosing to spend time with his young family instead of churning out records. He wasn't exactly turning away at the peak of his popularity -- he still had a dedicated following, but the '90s weren't treating him particularly well, with 1991's The Fire Inside and 1995's It's a Mystery not playing far outside of the cult. So, the time was ripe for a hiatus, and Seger slipped into normal life. While he was away, his stature slowly started to rise, particularly around the turn of the millennium when Detroit once again rose to prominence as a rock & roll city thanks to Eminem, the White Stripes, and most significantly in Seger's case, Kid Rock, who was often seen in Seger shirts and blatantly tried to position himself as the heir to Bob's throne. In this setting, Seger was inducted to the Rock & Roll Hall of Fame, and it soon became known that he was working on a new album, which turned out to be Face the Promise, which surfaced in September 2006, 11 years after It's a Mystery. As the copyrights on the songs on Face the Promise prove, Seger had been working on this project steadily since about 2000; while most date from 2005 and 2006, a few are as old as 2001 and there are songs dating from throughout the decade, so this was no rush job and it certainly doesn't sound like it either. This sounds like Seger's most carefully considered record in quite some time, from its overarching themes -- largely of love and family and aging, not a huge surprise given his past decade -- to its individual songs, performances, and recordings, so it shouldn't come as a total surprise that Face the Promise feels like his most complete record since 1982's The Distance, which naturally also means that it's his best since then.

A large part of its appeal is that it feels natural and unforced, lacking the deliberate, slick anthems of Like a Rock or the overly considered feel of The Fire Inside or the polish of It's a Mystery. Which isn't to say that Face the Promise is gritty: make no mistake, this is the work an old pro backed by professionals. But this is not a Silver Bullet Band album -- this is the first Seger album to be credited as a solo effort since 1975's Beautiful Loser, which makes a lot of sense because its emotional heart is closer to such '70s solo efforts as Beautiful Loser or the largely forgotten Brand New Morning than his previous few records. That doesn't mean that this is an autumnal introspective affair -- there are rockers and anthems here, but this is the sound of a veteran rocker not only acting his age, but liking being his age, which doesn't happen all that often. And that's why Face the Promise was largely recorded in Nashville -- it's not because Seger is going country, even with the presence of a duet with Patty Loveless or the fact that he and Kid Rock cover Vince Gill's "Real Mean Bottle," the only cut that sounds crafted with the radio in mind, but because Nashville is the current home of music for adults. Sure, it can be a little slick, but at its best, modern Nashville is a blend of heart and impeccable chops, which is ideal for Seger. Ironically, given that this was made with hired hands, the record has more warmth and heart than the last two Silver Bullet Band ones, but the success of Face the Promise isn't down to the backing band or location, although Seger was savvy enough to pick the right musicians and atmosphere for both -- it's down to the material, which is the best he's had in years. If on It's a Mystery it seemed like Seger was searching for something to say, here he seems recharged by his hiatus -- or more specifically, the time he's spent with his family, living and growing old -- and he's wound up with a record that plays to all his strengths, not just as a rocker, but as a songwriter and unintentional, unassuming, entirely appropriate spokesman for everyday middle Americans. That's what he was at his peak, and while Face the Promise isn't quite Night Moves or Stranger in Town, it stands proudly next to those albums and is most assuredly the work of the same singer -- a little older, a little wiser, a little more settled, but still restless and singing his heart.

1.Wreck This HeartAlbum Picture
2.Wait For Me
3.Face the Promise
4.No Matter Who You Are
5.Are You
6.Simplicity
7.No More
8.Real Mean Bottle - (with Kid Rock)
9.Won't Stop
10.Between
11.Answer's in the Question, The - (with Patty Loveless)

Despues de 11 años sin publicar nada nuevo, Seger se destapa con este magnifico disco en el que vuelve a sus raíces mas rockeras, sin olvidar su faceta de baladista. Seger se ha tomado su tiempo para preparar el disco, y se nota en la calidad de las canciones y la gran instrumentación que desarrolla.

John Lennon & The Plastic Ono Band: Sweet Toronto (DVD)

John Lennon & The Plastic Ono Band "Sweet Toronto" (1969)
Full DVD

Titulo original: John Lennon and the Plastic Ono Band: Sweet Toronto
Director : D.A. Pennebaker

Interpretes : John Lennon, Yoko Ono, Eric Clapton, Klaus Voorman, Alan White, Bo Diddley, Chuck Berry, Little Richard, Jerry Lee Lewis

En este DVD se recoge la actuacion de Lennon con su banda de 1969, la Ono Band, que se componia de musicos de la talla de E. Clapton, Klaus Voorman y Alan White. El documental se complementa con las actuaciones de Jerry Lee Lewis, Bo Diddley, Chuck Berry y Little Richard. Fue grabado como documento privado hasta que D.A. Penebaker lo recupero e hizo este montaje de la actuacion. Se edito en disco como "Live Peace in Toronto". Las canciones son una mezcla de temas clasicos del rock y algun tema de Beatles y de los primeros singles de Lennon. Se dice que la actuacion fue una improvisacion total, sin ningun ensayo previo, lo cual se nota bastante. Curioso es ver a Ono bajo una sabana pasandole chuletas a John, parece un fantasma del mas alla... DVD imprescindible ya que es la primera actuacion de Lennon en varios años, verlo nervioso y acompañado por grandes musicos (Harrison no quiso ir) es una gozada.

This 1969 concert brought John Lennon, Yoko Ono, and the Plastic Ono Band to Canada's Sweet Toronto Peace Festival--introducing Yoko to the heroes of her husband's childhood: Bo Diddley, Jerry Lee Lewis, Chuck Berry, and Little Richard. Captured on film by legendary rock documentarian D.A. Pennebaker (who had already directed the seminal Bob Dylan documentary, DON'T LOOK BACK), this is Lennon's only filmed performance with the Plastic Ono Band (which at this show consisted of Lennon, Ono, Eric Clapton on guitar, Klaus Voorman on bass, and Alan White on drums). Songs include "Blue Suede Shoes," "Yer Blues," "Cold Turkey," "Give Peace a Chance," and a rocking version of Barrett Strong's "Money," with Clapton and Lennon showing off their guitar chops.

The DVD features a 1988 interview with Yoko Ono in London in which she talks about John and the Plastic Ono Band.

Tracks: 1. Bo Diddley - Bo Diddley 2. Jerry Lee Lewis - Hound Dog 3. Chuck Berry - Johnny B. Goode 4. Little Richard - Lucille 5. John Lennon - Money 6. John Lennon - You Make Me Dizzy Miss Lizzy 7. John Lennon - Yer Blues 8. John Lennon - Cold Turkey 9. John Lennon - Give Peace a Chance 10. Yoko Ono - Don't Worry Kyoto (Mummy's Only Looking For Her Hand in the Snow) 11. Yoko Ono - John, John (Let's Hope For Peace)

Le doy las gracias a charly-postman por dejarme el DVD para el disfrute general y el mio en particular.

Paul Kantner & Grace Slick - Sunfighter

Paul Kantner & Grace Slick
Sunfighter (1971)
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AMG Biography: This is something of a family album, co-credited to Paul Kantner and his wife, Grace Slick, and featuring on its cover a photograph of their infant daughter, China. It also features the family of San Francisco Bay Area musicians, including David Crosby, Graham Nash, Jerry Garcia of the Grateful Dead, and other current members of Jefferson Airplane and future members of Jefferson Starship. Its style of loosely arranged acid rock music and radical left political lyrics is similar to such recent albums as the Kantner/Starship Blows Against the Empire (December 1970) and the Airplane's Bark (August 1971), which were made by most of the same players. But Kantner and Slick's usual stridency is not counterbalanced by substance as much as on earlier efforts, perhaps because they were making too many albums too quickly to keep up the quality of their songwriting. Still, anyone who enjoys the sweet-and-sour unison singing of X's John Doe and Exene Cervenka should listen to Sunfighter to see where they got it from.

Paul Kantner captained the band through various successor incarnations of Jefferson Airplane and Jefferson Starship. In all incarnations of the band, his primary instrument was the rhythm guitar, though he did sing lead or backup vocals on most songs.
During the summer of 1965 singer Marty Balin recruited folk musician Kantner as part of the original Jefferson Airplane.
During the transitional period of the early 1970s, as the band started to disintegrate, Kantner recorded Blows Against The Empire, a concept album featuring an ad-hoc group of musicians whom he dubbed Jefferson Starship, marking the first-ever use of that name. This edition of Jefferson Starship (such as it was) included members of Crosby, Stills, Nash & Young (David Crosby and Graham Nash) and members of the Grateful Dead (Jerry Garcia, Bill Kreutzmann, and Mickey Hart), as well as some of the remaining members of Jefferson Airplane (Grace Slick, Joey Covington, and Jack Casady). In Blows Against the Empire, Kantner (and Slick) sang about a group of people escaping earth in a hijacked starship. The album was nominated in 1971 for a prestigious science fiction prize, the Hugo Award, a rare honor for a musical recording. It was while that album was made that Kantner sealed his love affair with Grace Slick; their daughter China Kantner (who made a name for herself as an MTV veejay in the 1980s) was born shortly thereafter.

Kantner and Slick (with a similar group of musicians, but without a "Jefferson Starship" artist credit) released two follow-up albums: Sunfighter, an environmentalism-tinged album released in 1971 to celebrate China's birth, and 1973's Baron von Tollbooth and the Chrome Nun, titled after the nicknames David Crosby had given to the couple. The artist credit on Baron von Tollboth gave ex-Quicksilver Messenger Service bassist-keyboard player-vocalist David Freiberg equal billing with Kantner and Slick. (Freiberg, who had also appeared on Blows Against the Empire, had joined Jefferson Airplane in time to appear on Thirty Seconds over Winterland.)

Kantner is also credited with discovering teen-age guitarist Craig Chaquico during this time, who first appeared on Sunfighter and would play with Kantner, Slick, and their bands and then with Starship through 1991. He later embarked on a successful solo career as a smooth jazz artist.

By 1973, with Kaukonen and Casady now devoting their full attention to Hot Tuna, the musicians on Baron von Tollbooth formed the core of a new Airplane lineup that was formally reborn as Jefferson Starship in 1974. Kantner, Slick, and Freiberg were charter members. The line-up also included late-Airplane holdovers drummer John Barbata, and fiddler Papa John Creach (who also played with Hot Tuna), along with Pete Sears (who, like Freiberg, played bass and keyboards), and twenty-year-old guitarist Craig Chaquico. Although Balin was originally not among the re-christened Jefferson Starship, he joined the band while their first album, Dragonfly, was still in the works.

In 1984, Kantner (the last founding member of Jefferson Airplane remaining) left the group, but not before taking legal action against his former bandmates over the Jefferson name (the rest of the band wanted to continue as Jefferson Starship). Kantner won his suit, and the group name was reduced to simply Starship, marking the third incarnation of the band.
In 1985, following his departure from Jefferson Starship, Paul Kantner rejoined with Balin and Jack Casady to form the KBC Band, releasing their only album, KBC Band (which included Kantner's hit, "America"), in 1987 on Arista Records.

With Kantner reunited with Balin and Casady, the KBC Band opened the door to a full-blown Jefferson Airplane reunion. In 1989, during a solo San Francisco gig, Paul Kantner found himself joined by former bandmate (and lover) Grace Slick and two other ex-Airplane members for a cameo appearance. This led to a formal reunion of the original Jefferson Airplane (featuring nearly all the main members, including founder Marty Balin, but without Spencer Dryden, who had been kicked out of the band years earlier). A self-titled album was released by Columbia Records. The accompanying tour was a success, but their revival was short-lived, and thus Jefferson Airplane was officially disbanded for good. In 1991 Kantner and Balin formed a new version of Jefferson Starship , Kantner continues to tour with the band as of 2007 and former Jefferson Airplane/Jefferson Starship bassist David Frieberg rejoined the group in 2005.wp.



Grace Slick was born in the Chicago area (Evanston, IL) to Ivan W. Wing (of Norwegian-Swedish extraction) and his wife Virginia Barnett (a direct descendant of Mayflower passengers). In 1949, a month before her tenth birthday, her brother Chris Wing was born. Her father was transferred several times when she was a child and, in addition to the Chicago area, she lived in Los Angeles and San Francisco before her family finally settled in Palo Alto, California, south of San Francisco, in the early fifties. She attended Palo Alto Senior High School before switching to Castilleja High School, a private, all-girls school in Palo Alto. Following graduation, she attended Finch College in New York from 1956-1957 and the University of Miami in Coral Gables, Florida from 1957-1958.

Before entering the music scene, Slick was a model for I. Magnin for a short time in the early sixties.

Slick maintained a friendship with Janis Joplin that began early in her music career and lasted until Joplin's death by drug overdose on October 4, 1970. She also had a friendship, as well as a one-time sexual relationship, with Jim Morrison. According to her biography, the sexual relationship occurred during their 1968 European tour but no real romance was involved. Jeff Tamarkin's Jefferson Airplane biography, however, makes no mention of such a relationship. She was also good friends with The Grateful Dead's Jerry Garcia.

Slick was married twice, to cinematographer Gerald "Jerry" Slick from 1961 - 1971, and then to Skip Johnson, a Jefferson Starship lighting designer, from 1976 - 1994. She has one daughter, China Wing Kantner (born January 25, 1971). China's father is former Jefferson Airplane guitarist Paul Kantner, with whom Grace had a relationship from 1969 through 1975. During her stay in the hospital after the baby's birth, Grace sarcastically told one of the attending nurses (who Grace thought to be annoyingly sanctimonious) that she intended to name the child "god", with a small g as she wished for the child to be 'humble'. The nurse took Grace seriously, and her reports of the incident caused both a minor stir and the birth of a rock-and-roll urban legend.



Personnel & Tracks

Silver Spoon

* Grace Slick - Piano / Vocals
* Papa John Creach - Violin
* Jack Casady - Bass
* Joey Covington - Drums
* The Spanish Sexuals - Flute

Diana

* Paul Kantner - Rhythm Guitar / Vocals
* Grace Slick - Piano / Vocals

Sunfighter

* Paul Kantner - Rhythm Guitar / Vocals
* Grace Slick - Piano / Vocals
* Joey Covington - Drums
* Peter Kaukonen - Guitar
* Greg Adams - Trumpet / Flugelhorn
* Mic Gillette - Trombone
* Steven Schuster - Horn Arrangement / Sax / Flute
* Edwin Hawkins Singers - Vocals

Titanic

* Phil Sawyer - Sound Effects

Look at the Wood

* Grace Slick - Vocals
* Paul Kantner - Rhythm Guitar / Vocals
* David Crosby - Vocals / Tambourine
* Graham Nash - Arp
* Jorma Kaukonen - Lead Guitar

When I Was a Boy I Watched the Wolves

* Paul Kantner - Rhythm Guitar / Vocals
* Grace Slick - Vocals
* Peter Kaukonen - Mandolin
* Shelley Silverman - Drums
* Jerry Garcia - Guitar
* David Crosby - Vocals
* Graham Nash - Vocals

Million

* Paul Kantner - Rhythm Guitar / Vocals
* Grace Slick - Piano / Vocals
* Jerry Garcia - Guitar
* Bill Laudner - Vocals

China

* Grace Slick - Piano / Vocals
* Paul Kantner - Rhythm Guitar
* Jack Casady - Bass
* Chris Wing - Drums
* Joey Covington - Drums
* Greg Adams - Trumpet
* Mic Gillette - Trombone
* Steven Schuster - Horn Arrangement / Sax

Earth Mother

* Grace Slick - Piano / Vocals
* Paul Kantner - Vocals
* Jack Traylor - Guitar / Vocals
* Spencer Dryden - Drums
* Craig Chaquico - Lead Guitar
* Papa John Creach - Violin

Diana 2

* Paul Kantner - Rhythm Guitar / Vocals
* Grace Slick - Arp / Vocals
* David Crosby - Vocals
* Graham Nash - Vocals

Universal Copernican Mumbles

* Paul Kantner - Vocals
* Pat Gleeson - Moog / Piano
* John Vierra - Synthesizer Keyboard

Holding Together

* Paul Kantner - Vocals
* Grace Slick - Piano
* Jerry Garcia - Guitar
* Joey Covington - Drums

La Francesada de 1808

Ya que hoy hace 200 años de la Guerra de la Independencia, os dejo algunos de los cuadros y grabados de Goya, realizados allá por el año 1815, despues de la guerra, y habiendo pedido un "prestamo" a las autoridades para comprar material. Goya, con su vision aguda de la sociedad y sus gentes, plasmó con gran crudeza los episodios sangrientos de esos años, la guerra, sus secuelas, e incluso el regreso del rey felón, Fernando VII, que anulo la constitucion liberal del 12, por una serie de edictos personalistas.

Las últimas 17 estampas de la serie de los Desastres de la Guerra recogen la situación de desengaño que supuso el regreso de Fernando VII al poder. Se les conoce por "Caprichos enfáticos" al emplear Goya un lenguaje ácido y crítico similar al de la serie de los Caprichos. Un extraño monstruo nos deja ver sus alas de vampiro y sus garras de águila; está escribiendo una nueva ley, aludiendo seguramente a los nuevos códigos que dejaban de lado la Constitución de 1812 y todo el entramado liberal de las Cortes de Cádiz. Esos nuevos códigos iban "contra el bien general" - como reza el título - ideado por los ilustrados y los que pensaban como el maestro.

Los Desastres de la Guerra constituyen la serie más dramática y terrible entre los grabados de Goya. Consta de 82 estampas que fueron realizadas por el maestro hacia 1810, aunque se introdujeron las últimas escenas hacia 1815. Temeroso de una persecución política por la dureza de los grabados, las guardó a buen recaudo y fue en 1863 cuando fueron publicadas por primera vez. La serie supone una brutal crítica a la sinrazón de un conflicto armado, sin tomar partido ni por "los buenos" ni por "los malos". Su espíritu ilustrado, que había depositado su confianza en la monarquía de José I, se vio traicionado por las brutalidades de los soldados de Napoleón. Así muestra a los franceses, de la misma manera que hace con los españoles, como auténticas máquinas de matar. Que valor! es la única estampa de la serie en la que el anciano pintor alude a un personaje concreto: la catalana Agustina de Aragón y su heroica actuación en la defensa de Zaragoza, personalizando el valor desbordado por las mujeres durante la Guerra de la Independencia. La mujer trepa por los cadáveres de los anónimos artilleros para disparar el cañón que salve a su ciudad y a la patria ante el ataque francés. La belleza de esta estampa viene motivada por su monumentalidad y su clasicismo.


Tambien en Cataluña se resistió al frances en varias batallas y en guerra de guerrillas para cortar la retaguardia del ejercito de Napoleon. La mas famosa fue en El Bruc, donde la leyenda dice que el pequeño tamborilero Isidro, el pastor, hace que el ejercito francés se retire al oír el sonido de su tambor, amplificado por el eco de las montañas de Montserrat.

Viajero, para aquí, que el francés también paró, el que por todo pasó no pudo pasar de aquí.