High Voltage Festival, London, Day 2 July 25, 2010 Naturally palizón after the first day, the second pose us more calm. For starters there were fewer bands we considered essential, which gave us more room for tomárnoslo relaxed.
And we did, of course no early, a good breakfast and quite calmly walked to the park since our first goal was the Steve Hackett Prog past Stage 1 in the afternoon.
Without any problems we come quickly, a quick visit to the first aid station to meet with the surprise that they did not have any sunscreen. Although the day was never nubladillo precautions left over because I had scorched the left side of neck and forearms on the previous day.
Seeing that it looked like we started approaching the stage and discovered that they were playing were Wishbone Ash in its current incarnation, not Steve Hackett. With that band we tried, heard the album classic Argus were to interpret without finding anything exciting, so we decided to go for a ride.
We looked at film and we took a break in the shade listening from afar the Quireboys who were on the main stage. We did some shopping as I went along. And looking at the facebook festival saw that there were schedule changes announced in the Main Stage and that Hackett had changed the time for action.
This shift out of position on us enough, did we waste our time we thought seeing UFO and Uriah Heep, but hey, we also did not paste the beating the previous day.
Steve Hackett's concert was embarrassingly short, it appears that heavy before lengthened over Steve already made him pay the bill. In any case in five subjects amply demonstrated the magnificence of his music.
With a very good band with an amazing bass player not only in physical presence as seen in the pictures and the absolute master of immeasurable guitarist was one of the concerts of the festival without a doubt. He played little, but his interpretation of Ace of Wands was enormous and the end, despite the small sound problems with a mix of endorsements and other small bits of Genesis was glorious.
We knew a very little, the truth and left us wanting more. Lunchtime, half chicken and chips for everyone and time to relax in the shade again as we Bachman & Turner made fun.
We approached a little Prog Stage to talk to our American friends and a couple escucahr Artist: Magnum. Did not sound bad, but Bob Catley's voice is unfortunately little fanfare.
The next dish on the main stage was Joe Bonamassa. All references we had, from the mouth to mouth, what we saw and heard made us expect a great concert, and faith that it was very large.
Bonamassa is a guitar player with great technique, lots of tenderness, warm voice but not very bluesy and great stage presence. He went out hard with his double neck guitar, which I did not understand because they are not changed at any time, but yes, a bit dramatic. The topic was one its flagship, The Ballad of John Henry.
When moved to a beautiful Les Paul Gold came in a wonderful spirit of blues
Marked intense Young Man Blues, before an audience not just Young, indeed.
Then he took another gem of guitar, this time red (Music Man Albert Lee as I have known then) and was a super intimate topic, sticking out almost tears on guitar, an absolute darling. Then back to even par pa Les Paul issues and the end was tremendous.
The guitar he taught us was a beautiful golden Gibson Flying V, a jewel for the eye and the ear and after heating provoking the public from various points of the stage was launched to a tremendous Just Got Paid, ZZ version Top that has taken and which also introduces deliriously guitar, parts of Dazed and Confused by Led Zeppelin, embroidering the solos and the sound of Page, including the theremin, and finishing with a total rock apotheosis.
The truth is that they also knew little. Joe Bonamassa is noted as one of the essential. We must carefully follow their new project, Black Country Communion, as a band that are the very Bonamassa, Glenn Hughes, Derek Sherinian and Jason Bonham has a hell of a pint.
Our next planned stop was the Metal Hammer Stage, the only time in the festival, to see Opeth. Of the three times we've seen the band's Mikael Åkerfeldt, two have been in festivals and I stand by that is not the best place to enjoy your music. Neither the environment nor the surrounding environment collaborating to dip into their music, the soft parts were lost enough and did not reach the hardest to get hooked.
You
Mikael saw a little lost and not as mouth as usual. He tried a few jokes that did not reach the audience at all. So I dedicated myself to take pictures without worrying too much music.
Although the day was quiet, the bodies were already pretty smashed, so we listen to the time of Marillion advantage of American hospitality and lying on the blanket that had been planted next to the Stage Prog two days. Qie what I heard, but not prstarle much attention, it sounded really well. Others to whom I owe a little more attention.
After a heartfelt farewell to Donna, which was not seen 6 years since my last trip to USA and last tour with the classic YES, we went to the Grand Finale.
ELP were one of the fundamental reasons for the trip. Just because we can almost certainly say now that has been "a once in a lifetime." Do not think there's opportunity to see them again. Thus we have enjoyed in a unique concert at one of those legendary bands that once was totally impossible to see. We
positions on the side of Emerson, of course. The placement was always, His Eminence left with very old keyboards and synthesizer with all his panel interconnections, Carl Palmer at the center battery with a more discreet than in the old days, yes, with the two Gongs back, and Lake on the right, alternating bass with the acoustic guitar.
And left, as expected, with Karn Evil 9 at the famous Welcome back my friends, to the Show That Never Ends ... A rather spectacular departure and the audience was given away. Many smiles on stage and in public.
continued with The Barbarian and began to see the suffering of Emerson and his right hand. Just can use three fingers and shout, even manages to do an excellent version of the song. See a keyboard player of his stature in these conditions is one side rather sad, but it has so many skill and experience and lays many eggs which makes it quite admirable. If we add that Palmer is in great shape and a demonstration of how Lake plays and sounds great, with near-perfect voice and a bass sound brutal, the version is breathtaking.
After an excellent understanding of Bitches Crystal Lake tariff with the famous bass line of Knife Edge. Use a very dark tone that gives it a huge point to the song, the bass sounds amazing and looks smooth Emerson. Another huge version.
Lake then switches to the sound and makes a beautiful From the Beggining, with only the guitar included as Keith puts the piano arpeggios. Of course, Emerson's moog solo makes only two fingers, thumb and index finger, although that is memorable, with the same emotion as always. Touch and Go
give us a little classical era. Good rendition of a song easier to play that serves to see that Lake is very good voice and the way Keith lies.
No good light and decent photos hcer placement so as they begin to play Take a Pebble decided to record a video. The song progresses, beautiful as always, doing a perfect job Lake and when it reaches the central part Keith is left alone at the piano and, what is this? his left hand touches an Eruption passage, the principle of Tarkus, I can not write now, No way! because it is the beginning only. Emmo embarks on a solo piano version of the song I wanted to hear ... Well, that's something, I think, when Palmer and Lake back and Stones of Years sounds and with the full band and so on until the end of Lake mosqueo included asking for more monitors to yell at the technicians who are on your left. I hope you hear in the recording of the concert I'm waiting. Keith released his classic pileup (Ribbon Controller) to set off fireworks and rubbing the back of his pants as in old times. Not recorded until the end because when I had 11 minutes my arm and my back and could no more. Dream come true, Tarkus live AAAAHHH!.
Farewell To Arms, Great Lake interpretation of a song is not particularly brilliant in the last period of the band, but that sounds very good and again allows the rest to all. Lucky Man closes this part, not very bright and memorable version of the truth. Is presented by Palmer and played competently but without much luster. Keith returns to the solo in the very old moog but it does suffer a bit of his physical deficiencies. Is correct but fails to thrill.
Emerson
And then goes to the microphone and shout We'll Give You Pictures at an Exhibition!. And he scored an excellent version, recreated again, playing a classic but with new arrangements and approaches to different parts. Sensational, unmitigated, a masterpiece in every performance. And the closing apotheosis and final aftertaste. As they did 40 years ago in his debut at the Festival of the Isle of Wight took a couple of guns and fired, but with less risk than before. A final fireworks, which as I say farewell has the flavor that was breathing at the concert.
The encore is a Fanfare for the common man with long drum solo Palmer, mess and Lorza included, gongs to spray and pray, abuse Emmo to Hammond with their knives and punches and others and fireworks to finish .
Hugs and happy faces in all three, despite the age, physical problems and everything else had scored a memorable concert, historical and personally I think it will be the last in his career. And we were there to witness it.
I personally hope that the High Voltage get posters in the coming years as full and exciting as this year. If it does not no doubt we will return.
