Newsgroup: it.arti.musica.rock
Titolo: Cast

Lessi, qualche tempo fa, una recensione su Rockerilla di un gruppo dal 
nome simile. Messicani, o americani, boh? Su allmusic non ci sono punto 
informazioni - se non l'elenco degli album. Qualcuno ne sa qualcosa?
M.

 ha scritto nel messaggio
news:3C36C18...@libero.it...

Messicani, fanno new prog, ossia ricalcano le orme di genesis e dintorni.
Sentiti poco, li ho visti in concerto 2 anni fa a Vigevano, mi sono piaciuti
pochino.
Hanno appena pubblicato in Italia un cd per Rock Revelation (neo etichetta
prog di Milano).
Chiedi su iamrp (it.arti.musica.rock.progressive), di là trovi di sicuro
qualcuno che ti darà maggiori info.
Oppure prova a consultare http:\\
fromgenesis.net
Ciao
    Zivotinjica

>L


 M.
E tu ce ne hai messi 5 per i ringraziamenti, solitamente è sconsigliato
stare davanti al pc aspettando risposte :))
Mica sempre c'è qualcuno "from work" affaticato e sudato che risponde :)
Ciao
    Zivotinjica

 informazioni - se non l'elenco degli album. Qualcuno ne sa qualcosa?
Messicani. gruppo di prog sinfonico non molto originale. piacevoli per 20
minuti, poi diventano un tritamento di palle
DP

ma non esiste anche un gruppo Pop inglese....????
mi pare.... adesso controllo meglio.

The definitive 'History' of Cast, then and now....
Time waits for no one was the message of the Rolling Stones on that classic
of an album 'It's Only Rock n' Roll' and the same applied to John Power when
he departed from what was a difficult leaving of The La's way back in 1993.
Armed with a batch of songs, some of which featured in The La's live set, he
set about forming what was to become Cast.
Enter Peter Wilkinson, at that time bass player for Shack and the first to
join after John spotted Peter playing a low key club gig. Next was Keith
O'Neill who had played in various groups in Liverpool, many comparing him to
the legendary Keith Moon. Finally Liam "Skin" Tyson who was spotted
wandering around a mountain in Cumbria after the band had been tipped off on
his rather special guitar work and Cast was born.
The band then started to gig at a relentless pace in their hometown of
Liverpool and also all of the countries major towns. Many tours later and
with an ever increasing fanbase the band were spotted whilst supporting
Oasis at one of their very first shows by Polydor Records, the label could
not believe they had not been snapped up and immediately secured the band.
Up until then the band had only released a limited edition 10" of 'Tell It
Like It Is' and 'Sandstorm' which is now changing hands for about £50. So
when John Leckie, who was famous for his work on producing Pink Floyd, Stone
Roses, XTC and others called up it seemed like the perfect marriage. The
band then embarked on what was to become the recordings for 'All Change',
the debut album. The band recorded the album in Cornwall and also at the
Manor Studios which was famous for many classic albums and as it happens
Cast were to record the last album ever there.
The first single to appear was released in June 1995 entitled 'Finetime' and
unbelievably entered in the charts at number 18. This was the beginning of a
string of Top 20 hits ending with the classic 'Walkaway' taking the album to
double platinum status and establishing the band as one the premier live
acts in Europe.
Within months of a exhausting live schedule in 1996 the band entered the
studio to begin recording what was to become 'Mother Nature Calls'. When
listening to Mother Nature Calls you will hear the defiant voice of a
songwriter exorcising an inner struggle through songs of love, hope and
redemption, and if All Change was a record of effervescence and naked
enthusiasm, Mother Nature Calls is a clarion call from a band whose spirit
will not be tamed. "We're surfing. We just take it as far as we can" - John
Power.
Cast took three months to record Mother Nature Calls and worked at Rak,
Sawmills, Abbey Road and Eden Studios. For the second time John Leckie was
appointed producer and when the Mother Natures Calls sessions came to a
close in mid February, Power had written about 30 new songs. Opinions differ
on what are the best tracks of the album, some will opt for the open
triumphalism of 'Free Me', others the flagrant bluster of 'Mirror Me' while
for some it may be the rock grandiose of 'On The Run'. What it showed was
the album was a daring move of many moods with amore reflective atmosphere,
check the melancholy 'Tell Me What To Do', the lament of 'Live The Dream'
and the soulful 'I'm So Lonely' written during a period of bleak loneliness
in a Japanese hotel room.
The album reached the bands highest chart position of number three and
reflected the ever increasing following they had built up. The band
continued to tour the album to expectant audiences around the world ending
at a huge sell out show at Battersea Power station. Again they had
registered another four Top 20 hits on top of the huge hit that was 'Flying'
which was to not feature on either album.
After taking a well earned Christmas break the band began the initial walk
towards what would become 'Magic Hour' the third album. Holed up in John
Entwhistle's private studio, a brand new batch of songs were written. These
songs had originated largely over the previous year whilst on tour and repre
sented a departure from the previous two albums. The best description comes
from Uncut magazine who commented "Spiralling, Kaleidoscopic guitars
...celebratory gospel-chorused voices ...weighty Zeppelin-shaped
grooves...bubbling analogue synthesisers...thunderous Keith Moon hip
hop...cinematic widescreen orchestrations." As you can see, the band had
moved on and this time changed producers from John Leckie to Gil Norton.
Before long the foundations of Magic Hour had been laid, in the form of the
sunlit golden hued ballad 'She Falls' the dreamlike innocence of the title
track and the raging yet emotive 'Dreamer'. The sessions found the band
embracing technology for the first time, although the loops and synthesisers
that feature on the tracks serve only as an adjunct to the bands sound
rather than some forced faddish interest in electronics. Even the string
arrangements supplied by Bond arranger David Arnold - who broke his no bands
rule to do it have a unique feel as opposed to the strapped on
orchestrations that many rock bands have tried in recent times. "We didn't
want to make it seem like we had no ideas so we just threw in loops and
noises" Power stresses. "We wanted the music to have a movement and a reason
for the eccentricities. We couldn't have used programming and technology in
the past because we didn't have a history so it was just a natural
development."
In the end it was to become Cast's most accomplished record to date. Check
the 2001 style projections of 'Alien' and the achingly beautiful 'Hideaway'
surely their finest moment to date, the spirit of the group was in full
tact. The album was released in the spring time of May 1999 and reached a
highly respectable number 6 at a time when the nations airwaves were
drenched with an abundance of teen pop. The album also brought new fans to
the band that they had not had before. One thing that had not left them was
their natural instinct in being one the best live bands around, many who saw
them play at London's Astoria claim it was one of the best gigs ever. The
album spawned two singles which were 'Beat Mama' and 'Magic Hour' continuing
their onslaught of Top 30 hits. A third single was muted but did not appear
due to arguments with the label over choices.
But now a brand new era of Cast is upon us. Over the last few months,
something radical has happened. They have mutated, changed, grown in leaps
and bounds. Now, in mid-2001, Cast have become magnificently multi-layered
and gloriously three-dimensional.
"I've been listening to grooves all my life," says John Power. "I've always
been into James Brown, Bob Marley, Funkadelic and Marvin Gaye every bit as
much as I have Lennon, McCartney and Townshend. Life and music is one and
the same: to keep things interesting, you've got to move on and progress.
You know, stagnant water smells; freshwater keeps moving. We've moved on."
You can say that again. Cast's fourth album is called Beetroot. You'll be
surprised by its contents, because while their sense of melody remains very
much intact, their approach to songs has gotten wider. Herein, they are
funky and effervescent, anthemic and soaring, slow burning and scratchy.
There are loops, there are trumpets. "We call it our Gil Scott Heron vibe,"
says Power. "It's us freeing ourselves of all sense of routine. See, Cast is
just a title, a maypole we choose to dance around. But we can go off in any
direction any time we want. Who's to stop us?"
Judging by the results on Beetroot, no-one. Seven years into their career,
and surrounded by acts seemingly happy to simply regurgitate the same old
tired formula, Cast are reborn, rejuvenated. Moving the goalposts isn't the
half of it.
After Magic Hour, and disillusioned with the state of the teen pop-dominated
charts, John Power decided to take some time off. He spent a year lounging
in a deck chair in the back garden, thinking, plotting. While he continued
to love his job, his career, his calling, he was still full of musical
ambition. He had a vision of where he wanted to go next. So he got up off
his arse, and followed it. Holing themselves up in Hoxton's Strongroom and
Peter Gabriel's Real World studio with Talvin Singh collaborator Tristan
Norwell, they wrote, recorded and produced Beetroot, Cast's best album yet.
Why so good? Well, it's alive with melody and ideas, and musically, it's
practically fizzing. The whole thing kicks off with Desert Drought, the
first single, which is as strong and emphatic as a clarion cry. Kingdoms &
Crowns is, if anything, even better, the most sonically interesting thing
they've ever done, and as contagious as a disease. Giving It All Away is
what a song sounds like when its chorus is strapped to the back of a jumbo
jet heading for the clouds, and the closing Universal Grinding Wheel is,
suggests Power himself, "the sound of a dozen fat elephant arses walking in
sync through a jungle." Not literally, of course, but you get the picture:
the album's got movement, got rhythm.
Which, he goes on to say, says something of the record as a whole. "It's a
combination of Bob Marley, James Brown, John Lennon and The Jungle Book.
It's us freeing ourselves of all routine, and I tell you, la, it's already
worked wonders for us. I always used to hate the process of writing and
recording, but this has completely freed me up. I loved it, never had more
fun in the studio. In fact, I'm itching to get back in."
"I've lost all sense of vanity," he says. "I don't care a fuck about fashion
or front covers any more. All I care about are good songs, making good
albums, and producing good music. And I feel, more than ever before, and
that that is what we've done this time round. It just feels so right. It's
like, I've seen a new future, and I want to stick my toe in it, wiggle it
about some."
Look into John Power's eyes, and you see the blinding light of pure zeal
beaming right back. "In the past," he says, "I've tended to talk a lot about
the music but here, perhaps for the first time, I really believe the music
speaks for itself. So I'll shut up."
And, most curiously, that's exactly what he does. Beetroot requires just two
words: it's brilliant. That's all the hyperbole it needs.

http://www.geocities.com/SunsetStrip/Mezzanine/8204/
http://www.cast.co.uk

 mi pare.... adesso controllo meglio.
Credo di si, ma luio chiedeva di quello messicano :)
Ciao
    Zivotinjica