Marcelo Contreras album review: Frank Sinatra always shines and Kasabian fades

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A father of a family faces a major debacle in the peaceful Watertown, northwest of New York. His wife, the mother of his two sons, tells him calmly in a cafeteria while enjoying some cakes, that she is leaving the marriage to go to the big city. More than anger, her husband resigns himself knowing that this moment would come sooner or later, because her talents and interests have never had a place in the monotony of Watertown.

Produced and composed by Bob Gaudio of The Four Seasonsone of the most famous vocal groups of the 60s, with the collaboration of composer Jack Holmes (author of Dazed and confused, popularized by Led Zeppelin), this conceptual album was a failure for Frank Sinatra, which has been vindicated over time. Together with Tone poems of color (1956), they are the only covers where his face and figure do not appear, but rather the illustration of a bucolic railway stop.

The elegant orchestrations, a trademark of La Voz, are built on formal bases of soul with some rock, to finally become baroque and evocative pop, with that sublime sound and detail that reached the international ballad between the end of the 60s, and the 70’s start.

Watertown is moving from beginning to end, with different episodes of the relationship, from the beginning of the idyll in What a funny girl (you used to be)to the sadness of she saysa letter from the mother already estranged from the family.

Frank Sinatra is simply sublime interpreting the sadness and conformation of the hapless husband, especially in cuts like Michael & Peter and, particularly in I would be in love (anyway), a shocking song with Sinatra singing at the top of his voice, willing to fall in love with her again, even knowing that the destination would be the same. Devastatingly romantic.

Sergio Pizzorno, the leader of Kasabian, resignedly says that no matter how many albums he publishes with the group or through his solo project The SLP, people continue to recognize him for his soccer skills, before his rockstar status. a decade ago scored a great goal playing in a Rest of the World lineup, such as he showed off on Soccer AM, a classic British program dedicated to soccer.

Unfortunately, it will continue to be that way for the guitarist and singer with this return of the British band, five years after their last step in the studio. The Alchemist’s Euphoria It is a crucial title in a rock group that stands out among the best of the island in the last 20 years, inventive to integrate electronics, hip hop beats and psychedelia. At the same time, they are devastating live, as they demonstrated in the Caupolicán theater four years ago.

This is the first album without Tom Meighan on vocals, separated from the group hours before pleading guilty to physically assaulting his partner Vikki Ager, in July 2020. Meighan, with mental health and alcohol problems, underwent therapy to marry with Vikki last year.

Kasabian was reformulated without resorting to replacements. Pizzorno usually sings a few songs on each album or takes charge of the choruses, as in LSF from 2004’s unbeatable debut album.

He’s a good performer, but the challenge only shows how much Tom Meighan is missing. The Alchemist’s Euphoria it manifests itself disoriented, without character, insistent on electronic language, repeating the codes of much younger and bland bands like The Chainsmokers, in an unnecessary facelift. The guitars have been removed and the choruses are scarce. A tragedy. Kasabian’s quarrelsome side has irretrievably faded.

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