Δαι μουσικές (daeman's tunes)
- Thread starter daeman
- Start date
...
Μια που ξεκίνησα το Journey to Love, κρίμα να σταματήσω στο πρώτο κομμάτι.
Journey to Love
Hello Jeff
Song to John, Parts 1 & 2 (an elegy for John Coltrane)
Concerto for Jazz/Rock Orchestra, Parts 1-4
Stanley Clarke - electric bass, acoustic bass, organ, piccolo bass (first used by Stanley Clarke) with Maestro Synthesizer on "Concerto For Jazz/Rock Orchestra," hand bells, tubular bells, gong, vocals / Chick Corea - acoustic piano on "Song to John"
Jeff Beck - electric guitar on "Hello Jeff" and guitar solo on "Journey to Love" / George Duke - organ, synthesizer, Moog synthesizer, keyboard, Arp Odyssey, clavinet, acoustic piano, electric piano, bells, vocals / Tom "Bones" Malone, David Taylor - trombone / Jon Faddis, Alan Rubin, Lew Soloff - trumpet / Earl Chapin, John Clark, Peter Gordon, Wilmer Wise - brass horn
John McLaughlin - acoustic guitar on "Song to John" / David Sancious - electric guitar, 12-string guitar
Steve Gadd - drums, percussions / Lenny White - drums on "Hello Jeff"
It has often been said that Stanley Clarke did for the fretted electric bass in the 1970s what fellow virtuoso Jaco Pastorius did for the fretless. For any aspiring jazz-rock bassist coming up in the time between Bitches Brew and Feels So Good, Stanley's innovative playing, which combined a distinctive slap-pop style with fluid finger-style work informed by his acoustic playing, was a required assignment. Although School Days, with its catchy signature song, is perhaps the most listened to of his albums, it is on Journey to Love, Clarke's second solo offering for Columbia, that his muse is most confidently and persuasively displayed. He is assisted in this worthy endeavor by a whole carload of world-class talent. Jeff Beck shows up for two songs, the title track and the appropriately-titled "Hello Jeff." His lead guitar is as expressive and unpredictable as ever, capable of bringing a smile to the face of the most jaded listener. Return to Forever bandmates Chick Corea and Lenny White also turn up, as well as fellow traveler Mahavishnu John McLaughlin. Not to be overlooked are the tremendous talents of keyboardist George Duke, drummer Steve Gadd, and guitarist David Sancious. The caliber of the musicians aside, Journey of Love is full of great tunes, great grooves, and absolutely amazing bass playing. Clarke moves from percussive slapping to almost guitaristic chording to full-speed improvising with bewildering ease. Make no mistake about it, this is one of the finest fusion albums to come out of the 1970s, and it is the single best demonstration of the skills and the sound that make Clarke one of the most important figures to ever pick up the instrument.
~Daniel Gioffre, allmusic
Μια που ξεκίνησα το Journey to Love, κρίμα να σταματήσω στο πρώτο κομμάτι.
Journey to Love
Hello Jeff
Song to John, Parts 1 & 2 (an elegy for John Coltrane)
Concerto for Jazz/Rock Orchestra, Parts 1-4
Stanley Clarke - electric bass, acoustic bass, organ, piccolo bass (first used by Stanley Clarke) with Maestro Synthesizer on "Concerto For Jazz/Rock Orchestra," hand bells, tubular bells, gong, vocals / Chick Corea - acoustic piano on "Song to John"
Jeff Beck - electric guitar on "Hello Jeff" and guitar solo on "Journey to Love" / George Duke - organ, synthesizer, Moog synthesizer, keyboard, Arp Odyssey, clavinet, acoustic piano, electric piano, bells, vocals / Tom "Bones" Malone, David Taylor - trombone / Jon Faddis, Alan Rubin, Lew Soloff - trumpet / Earl Chapin, John Clark, Peter Gordon, Wilmer Wise - brass horn
John McLaughlin - acoustic guitar on "Song to John" / David Sancious - electric guitar, 12-string guitar
Steve Gadd - drums, percussions / Lenny White - drums on "Hello Jeff"
It has often been said that Stanley Clarke did for the fretted electric bass in the 1970s what fellow virtuoso Jaco Pastorius did for the fretless. For any aspiring jazz-rock bassist coming up in the time between Bitches Brew and Feels So Good, Stanley's innovative playing, which combined a distinctive slap-pop style with fluid finger-style work informed by his acoustic playing, was a required assignment. Although School Days, with its catchy signature song, is perhaps the most listened to of his albums, it is on Journey to Love, Clarke's second solo offering for Columbia, that his muse is most confidently and persuasively displayed. He is assisted in this worthy endeavor by a whole carload of world-class talent. Jeff Beck shows up for two songs, the title track and the appropriately-titled "Hello Jeff." His lead guitar is as expressive and unpredictable as ever, capable of bringing a smile to the face of the most jaded listener. Return to Forever bandmates Chick Corea and Lenny White also turn up, as well as fellow traveler Mahavishnu John McLaughlin. Not to be overlooked are the tremendous talents of keyboardist George Duke, drummer Steve Gadd, and guitarist David Sancious. The caliber of the musicians aside, Journey of Love is full of great tunes, great grooves, and absolutely amazing bass playing. Clarke moves from percussive slapping to almost guitaristic chording to full-speed improvising with bewildering ease. Make no mistake about it, this is one of the finest fusion albums to come out of the 1970s, and it is the single best demonstration of the skills and the sound that make Clarke one of the most important figures to ever pick up the instrument.
~Daniel Gioffre, allmusic
...
I Only Have Eyes For You, που ακουγόταν και στο Εyes Wide Shut, εδώ όμως από την Μπίλι, λάιβ και με βίντεο:
Ματάρες η φωνάρα.
I Only Have Eyes For You, που ακουγόταν και στο Εyes Wide Shut, εδώ όμως από την Μπίλι, λάιβ και με βίντεο:
Ματάρες η φωνάρα.
...
Από τα μπάσα στα πρίμα, από τη σοκολατί στη γαλατερή κι από τη βελούδινη στην κρυστάλλινη φωνή: Shadows and Light, το δεύτερο λάιβ της Τζόνι Μίτσελ, ό,τι πρέπει για ένα ηλιόλουστο, ανάλαφρο σαββατιάτικο απόγευμα:
1. Introduction -- 1:51 / 2. In France They Kiss on Main Street -- 4:14 / 3. Edith and the Kingpin -- 4:10 / 4. Coyote -- 4:58
5. Goodbye Pork Pie Hat -- 6:02 (Charles Mingus, lyrics by Mitchell) / 6. Jaco's Solo (Jaco Pastorius), The High and the Mighty,
Third Stone from the Sun / 7. The Dry Cleaner from Des Moines -- 4:37 (Mitchell, Charles Mingus) / 8. Amelia -- 6:40
9. Pat's Solo -- 3:09 (Pat Metheny) / 10. Hejira -- 7:42 / 11. Black Crow -- 3:52 / 12. Don's Solo -- 4:04 (Don Alias)
13. Dreamland -- 4:40 / 14. Free Man in Paris -- 3:23 / 15.Band Introduction -- 0:52 / 16. Furry Sings the Blues -- 5:14
17. Raised on Robbery / 18. Why Do Fools Fall in Love -- 2:53 (Frankie Lymon, Morris Levy)
19. Shadows and Light -- 5:23 / 20. God Must be a Boogie Man -- 5:02 / 21. Woodstock -- 5:08
Από τα μπάσα στα πρίμα, από τη σοκολατί στη γαλατερή κι από τη βελούδινη στην κρυστάλλινη φωνή: Shadows and Light, το δεύτερο λάιβ της Τζόνι Μίτσελ, ό,τι πρέπει για ένα ηλιόλουστο, ανάλαφρο σαββατιάτικο απόγευμα:
1. Introduction -- 1:51 / 2. In France They Kiss on Main Street -- 4:14 / 3. Edith and the Kingpin -- 4:10 / 4. Coyote -- 4:58
5. Goodbye Pork Pie Hat -- 6:02 (Charles Mingus, lyrics by Mitchell) / 6. Jaco's Solo (Jaco Pastorius), The High and the Mighty,
Third Stone from the Sun / 7. The Dry Cleaner from Des Moines -- 4:37 (Mitchell, Charles Mingus) / 8. Amelia -- 6:40
9. Pat's Solo -- 3:09 (Pat Metheny) / 10. Hejira -- 7:42 / 11. Black Crow -- 3:52 / 12. Don's Solo -- 4:04 (Don Alias)
13. Dreamland -- 4:40 / 14. Free Man in Paris -- 3:23 / 15.Band Introduction -- 0:52 / 16. Furry Sings the Blues -- 5:14
17. Raised on Robbery / 18. Why Do Fools Fall in Love -- 2:53 (Frankie Lymon, Morris Levy)
19. Shadows and Light -- 5:23 / 20. God Must be a Boogie Man -- 5:02 / 21. Woodstock -- 5:08
...
Mr. Bojangles - King Curtis
Nina Simone
I knew a man Bojangles
And he danced for you
In worn out shoes
With silver hair, a ragged shirt
And baggy pants, the old soft shoe
He jumped so high, he jumped so high
Then he lightly touched down
I met him in a cell in New Orleans
I was down and out
He looked at me to be the eyes of age
As he spoke right out
He talked of life, he talked of life
He laughed, and slapped his leg a step
Mr. Bojangles, Mr. Bojangles
Mr. Bojangles, dance!
He said his name, Bojangles
then he danced a lick across the cell
He grabbed his pants
a better stance
Oh, he jumped up high
he clicked his heels
He let go a laugh, he let go a laugh
Shook back his clothes all around
He danced for those
At minstrel shows and county fairs
Throughout the south
He spoke with tears of 15 years
How his dog and he traveled about
His dog up and died, he up and died
After 20 years he still grieves
Mr. Bojangles, Mr. Bojangles
Mr. Bojangles, dance!
He said I dance now
At every chance in honky tonks
For drinks and tips
But most of the time
I spend behind these county bars
He said I drinks a bit
He shook his head
And as he shook his head
I heard someone respectfully ask
Please
Mr. Bojangles, Mr. Bojangles
Mr. Bojangles, dance!
Brad Anderson, Ben Vereen & Edwaard Liang - Fosse
Mr. Bojangles - King Curtis
Nina Simone
I knew a man Bojangles
And he danced for you
In worn out shoes
With silver hair, a ragged shirt
And baggy pants, the old soft shoe
He jumped so high, he jumped so high
Then he lightly touched down
I met him in a cell in New Orleans
I was down and out
He looked at me to be the eyes of age
As he spoke right out
He talked of life, he talked of life
He laughed, and slapped his leg a step
Mr. Bojangles, Mr. Bojangles
Mr. Bojangles, dance!
He said his name, Bojangles
then he danced a lick across the cell
He grabbed his pants
a better stance
Oh, he jumped up high
he clicked his heels
He let go a laugh, he let go a laugh
Shook back his clothes all around
He danced for those
At minstrel shows and county fairs
Throughout the south
He spoke with tears of 15 years
How his dog and he traveled about
His dog up and died, he up and died
After 20 years he still grieves
Mr. Bojangles, Mr. Bojangles
Mr. Bojangles, dance!
He said I dance now
At every chance in honky tonks
For drinks and tips
But most of the time
I spend behind these county bars
He said I drinks a bit
He shook his head
And as he shook his head
I heard someone respectfully ask
Please
Mr. Bojangles, Mr. Bojangles
Mr. Bojangles, dance!
Brad Anderson, Ben Vereen & Edwaard Liang - Fosse
...
Το 1950, ο Τζόνι Κας κατατάχτηκε στην Αεροπορία. Μετά τη βασική εκπαίδευση, πήρε ειδικότητα κρυπτογράφου και τοποθετήθηκε στην υπηρεσία αντικατασκοπίας σε αμερικανική μονάδα στο Λάντσμπεργκ της Γερμανίας. Το 1953, προβλήθηκε στη μονάδα η ταινία Inside the Walls of Folsom Prison του Κρέιν Γουίλμπερ, που ενέπνευσε τον Κας να γράψει το Folsom Prison Blues, το δεύτερο σινγκλ του για τη Sun Records.
Στο Σαν Κουέντιν, 24 Φεβρουαρίου 1969.
To τραγούδι έγινε ευνόητα ύμνος για τους κρατούμενους, που έγραφαν στον Κας παρακαλώντας τον να παίξει στη φυλακή που βρίσκονταν, κι εκείνος τους έκανε τη χάρη, πρώτη φορά στο Χάντσβιλ το 1957 και τακτικά από τότε κι έπειτα. Μια δεκαετία αργότερα, ο Κας πρότεινε στον νέο διευθυντή του τμήματος κάντρι στην Columbia να ηχογραφήσουν ολόκληρο δίσκο σε φυλακή, εκείνος δέχτηκε και τηλεφώνησε στο Σαν Κουέντιν και στο Φόλσομ, και απάντησαν πρώτα από το Φόλσομ.
Στις 13 Ιανουαρίου 1968, ηχογραφήθηκε το At Folsom Prison:
00:00 Folsom Prison Blues / 02:42 Dark as a Dungeon / 05:50 I Still Miss Someone / 07:27 Cocaine Blues
10:30 25 Minutes to Go / 14:08 Orange Blossom Special / 17:10 The Long Black Veil / 21:09 Send A Picture of Mother
23:20 The Wall / 25:15 Dirty Old Egg-Sucking Dog / 26:32 Flushed From The Bathroom of Your Heart
29:14 Jackson (with June Carter) / 32:10 Give My Love to Rose (with June Carter) / 34:52 I Got Stripes
36:38 Green, Green Grass of Home / 39:40 Greystone Chapel
Όσοι δεν αρκούνται στη μουσική και τους στίχους, μπορούν να πάνε εκεί, εκεί κι εδώ:
Johnny Cash at Folsom Prison (2008)
Το 1950, ο Τζόνι Κας κατατάχτηκε στην Αεροπορία. Μετά τη βασική εκπαίδευση, πήρε ειδικότητα κρυπτογράφου και τοποθετήθηκε στην υπηρεσία αντικατασκοπίας σε αμερικανική μονάδα στο Λάντσμπεργκ της Γερμανίας. Το 1953, προβλήθηκε στη μονάδα η ταινία Inside the Walls of Folsom Prison του Κρέιν Γουίλμπερ, που ενέπνευσε τον Κας να γράψει το Folsom Prison Blues, το δεύτερο σινγκλ του για τη Sun Records.
To τραγούδι έγινε ευνόητα ύμνος για τους κρατούμενους, που έγραφαν στον Κας παρακαλώντας τον να παίξει στη φυλακή που βρίσκονταν, κι εκείνος τους έκανε τη χάρη, πρώτη φορά στο Χάντσβιλ το 1957 και τακτικά από τότε κι έπειτα. Μια δεκαετία αργότερα, ο Κας πρότεινε στον νέο διευθυντή του τμήματος κάντρι στην Columbia να ηχογραφήσουν ολόκληρο δίσκο σε φυλακή, εκείνος δέχτηκε και τηλεφώνησε στο Σαν Κουέντιν και στο Φόλσομ, και απάντησαν πρώτα από το Φόλσομ.
Στις 13 Ιανουαρίου 1968, ηχογραφήθηκε το At Folsom Prison:
00:00 Folsom Prison Blues / 02:42 Dark as a Dungeon / 05:50 I Still Miss Someone / 07:27 Cocaine Blues
10:30 25 Minutes to Go / 14:08 Orange Blossom Special / 17:10 The Long Black Veil / 21:09 Send A Picture of Mother
23:20 The Wall / 25:15 Dirty Old Egg-Sucking Dog / 26:32 Flushed From The Bathroom of Your Heart
29:14 Jackson (with June Carter) / 32:10 Give My Love to Rose (with June Carter) / 34:52 I Got Stripes
36:38 Green, Green Grass of Home / 39:40 Greystone Chapel
Όσοι δεν αρκούνται στη μουσική και τους στίχους, μπορούν να πάνε εκεί, εκεί κι εδώ:
Johnny Cash at Folsom Prison (2008)
...
Use Me - Bill Withers
Still Bill (1972)
Side One: 0:00 "Lonely Town, Lonely Street" / 3:43 "Let Me In Your Life" / 6:23 "Who Is He (And What Is He To You)?"
9:35 "Use Me" / 13:21 "Lean On Me"
Side Two: 17:40 "Kissing My Love" / 21:28 "I Don't Know" / 24:32 "Another Day To Run"
29:10 "I Don't Want You On My Mind" / 33:44 "Take It All In And Check It All Out"
Still Bill, 2009 documentary by Damani Baker & Alex Vlack
Bill Withers' songs run through our memories: "Ain't No Sunshine," "Lean on Me," "Use Me," "Grandma's Hands." Learning there was a new documentary about him, I wondered how long ago he died. The answer is, he still lives and survives as a happy man. "Still Bill" is about a man who topped the charts, walked away from it all in 1985 and is pleased that he did.
He didn't burn out. He hasn't burned out. He was free of the demons of drink and drugs.
...
Bill is 71. He was born in the middle of the segregated South in the mining hamlet of Slab Fork, W.Va. Did that experience leave scars? Not deep ones, apparently. On a homecoming trip for a class reunion, he walks the little town with a childhood friend, now the mayor, and they recall skinny-dipping in the creek and walking to school. Yes, they had to go to the back door of the grocery store to get an ice cream cone. He seems to remember the ice cream better than the back door. And he remembers his grandmother sitting on the front porch and singing.
Bill Withers was scarred, however. He had a serious stutter until he was 20. We don't learn why it went away. Maybe music helped. The most emotional scenes in "Still Bill" show him accepting an award from a stutterers' association, and then talking with a roomful of kids who stutter. His advice is calm: He identifies with them, he observes that stuttering can make other people nervous, he says "we have to go just that little bit further to help them feel at ease."
He wipes away some tears in his eyes, and we suspect they have been unshed since childhood. Later he recalls being taunted to "spit it out!" -- as if stuttering were his decision. He says he decided while young to make the most of his opportunities, and did. He studied, joined the Navy, didn't own a guitar until 1970, and achieved his first hit record, "Ain't No Sunshine," in 1971.
Withers wasn't part of mainstream soul music. He used a few instruments -- guitar, bass, drums, piano -- and no driving beat. He depended on his pure baritone and his lyrics. Listen again to "Ain't No Sunshine," and you realize it is a rarity: a hit song that is essentially just a man singing.
...
Why did he quit? It was time to quit, he says, whatever that means. He didn't feel the need to tour year after year, keeping himself in people's minds. "On the way to wonderful," he says, "you'll pass through all right. Stop and take a look around, because that's where you may be staying."
...
Withers seems as close to everyday Zen as I can imagine. He talks a great deal about his philosophy, to be sure, but it's direct and manifestly true: Make the most of your chances, do the best you can, stop when you're finished, love your family, enjoy life.
At 70, he sings once in the film, at a tribute to him in Brooklyn. And in his home recording studio, he and guitarist and songwriter Raul Midon collaborate on a song in Spanish, which I liked. He still has the voice, the chops and the presence. But he doesn't feel a need to spend days and weeks away from home proving that. His music endures. "I'm like pennies in your pocket," he says. "You know they're there, but you don't think about them."
~Roger Ebert, February 10, 2010
Use Me - Bill Withers
Still Bill (1972)
Side One: 0:00 "Lonely Town, Lonely Street" / 3:43 "Let Me In Your Life" / 6:23 "Who Is He (And What Is He To You)?"
9:35 "Use Me" / 13:21 "Lean On Me"
Side Two: 17:40 "Kissing My Love" / 21:28 "I Don't Know" / 24:32 "Another Day To Run"
29:10 "I Don't Want You On My Mind" / 33:44 "Take It All In And Check It All Out"
Still Bill, 2009 documentary by Damani Baker & Alex Vlack
Bill Withers' songs run through our memories: "Ain't No Sunshine," "Lean on Me," "Use Me," "Grandma's Hands." Learning there was a new documentary about him, I wondered how long ago he died. The answer is, he still lives and survives as a happy man. "Still Bill" is about a man who topped the charts, walked away from it all in 1985 and is pleased that he did.
He didn't burn out. He hasn't burned out. He was free of the demons of drink and drugs.
...
Bill is 71. He was born in the middle of the segregated South in the mining hamlet of Slab Fork, W.Va. Did that experience leave scars? Not deep ones, apparently. On a homecoming trip for a class reunion, he walks the little town with a childhood friend, now the mayor, and they recall skinny-dipping in the creek and walking to school. Yes, they had to go to the back door of the grocery store to get an ice cream cone. He seems to remember the ice cream better than the back door. And he remembers his grandmother sitting on the front porch and singing.
Bill Withers was scarred, however. He had a serious stutter until he was 20. We don't learn why it went away. Maybe music helped. The most emotional scenes in "Still Bill" show him accepting an award from a stutterers' association, and then talking with a roomful of kids who stutter. His advice is calm: He identifies with them, he observes that stuttering can make other people nervous, he says "we have to go just that little bit further to help them feel at ease."
He wipes away some tears in his eyes, and we suspect they have been unshed since childhood. Later he recalls being taunted to "spit it out!" -- as if stuttering were his decision. He says he decided while young to make the most of his opportunities, and did. He studied, joined the Navy, didn't own a guitar until 1970, and achieved his first hit record, "Ain't No Sunshine," in 1971.
Withers wasn't part of mainstream soul music. He used a few instruments -- guitar, bass, drums, piano -- and no driving beat. He depended on his pure baritone and his lyrics. Listen again to "Ain't No Sunshine," and you realize it is a rarity: a hit song that is essentially just a man singing.
...
Why did he quit? It was time to quit, he says, whatever that means. He didn't feel the need to tour year after year, keeping himself in people's minds. "On the way to wonderful," he says, "you'll pass through all right. Stop and take a look around, because that's where you may be staying."
...
Withers seems as close to everyday Zen as I can imagine. He talks a great deal about his philosophy, to be sure, but it's direct and manifestly true: Make the most of your chances, do the best you can, stop when you're finished, love your family, enjoy life.
At 70, he sings once in the film, at a tribute to him in Brooklyn. And in his home recording studio, he and guitarist and songwriter Raul Midon collaborate on a song in Spanish, which I liked. He still has the voice, the chops and the presence. But he doesn't feel a need to spend days and weeks away from home proving that. His music endures. "I'm like pennies in your pocket," he says. "You know they're there, but you don't think about them."
~Roger Ebert, February 10, 2010
...
Εξαιρετικό, Κώστα!
Αλλάζω εποχή, μουσική, διάθεση, δευτεριάτικη. Blue Monday - New Order
And I still find it so hard
To say what I need to say
But I'm quite sure that you'll tell me
Just how I should feel today
...
I thought I told you to leave me
While I walked down to the beach
Tell me how does it feel
When your heart grows cold
(grows cold, grows cold, grows cold)
Εξαιρετικό, Κώστα!
Αλλάζω εποχή, μουσική, διάθεση, δευτεριάτικη. Blue Monday - New Order
And I still find it so hard
To say what I need to say
But I'm quite sure that you'll tell me
Just how I should feel today
...
I thought I told you to leave me
While I walked down to the beach
Tell me how does it feel
When your heart grows cold
(grows cold, grows cold, grows cold)
...
Kicking Against the Pricks #1
Kicking Against the Pricks is the third album released by Nick Cave and the Bad Seeds.
First released in 1986, the album is a collection of cover versions. The title refers to a passage from the King James Version of the Bible (Acts 9:5, 22:8b and 26:14), the first and second of which reads: "I am Jesus whom thou persecutest: it is hard for thee to kick against the pricks" (though the reference to "kick against the pricks" (or "goads") is omitted in many modern versions of the Bible, it is still referenced in Acts 26:14, when Jesus said, "Saul, Saul, why are you persecuting me? It is hard for you to kick against the goad."). The phrase refers to the futility of an ox kicking in irritation at the sharpened wooden rod, called a prick or goad, used by his driver when tilling soil.
The album marked the Bad Seeds debut of drummer Thomas Wydler, expanding the Bad Seeds line-up to Cave, Wydler, Mick Harvey, Blixa Bargeld and Barry Adamson.
Remarking on the song selection, Cave said, "They were all done for different reasons. Basically a list of songs were made and we tried to play them. We tried songs by The Loved Ones and The Saints and all sorts of people that never got on the record. Some songs were tributes, like the Tom Jones song; other songs we didn't think the song was ever done particularly well in the first place. Some songs had just kind of haunted my childhood, like "The Carnival is Over", which I always loved."[SUP][[/SUP][SUP]5]
[/SUP]
The strings were arranged by Mick Harvey and played by the Berliner Kaffeehausmusik Ensemble. "The Hammer Song" is not to be confused with the song of the same name from the 1990 Bad Seeds album The Good Son.
1. Muddy Water (Phil Rosenthal) - The Seldom Scene
Mary, grab the baby, river's rising
Muddy water's taking back the land
Well this old house, it won't take one more beating
Ain't no use to stay and make a stand
The morning light showed water in the valley
Daddy's grave just went below the line
Things to save you just can't take them with you
The flood will swallow all we leave behind
I won't be back to start all over
'Cause what I felt before is gone
Mary, grab the baby river's rising
Muddy water's taking back our home
Now the road is gone, there's just one way to leave here
I'll turn my back on what I've left below
Shifting land and broken farms around me
Muddy water's changing all I know
It's hard to say just what I'm losing
Ain't never been so all alone
Mary, grab the baby river's rising
Muddy water's taking back my home
Well, muddy water's taking back my home
Muddy Water - Nick Cave and the Bad Seeds
2. I'm Gonna Kill That Woman - John Lee Hooker
Yeah, my baby left me this morning
And I don't care now, I don't care what the people say
Yeah, I did everything that I could, everything I could,
Lord knows I did not leave her
I tried to satisfy her worried mind, that's what I did
You know she was nothing but trouble, trouble
She keep me worried all the time
God knows her movements are killing me
Yeah, my baby stayed out all night long, all night long
She keep me worried all the time
Yeah, I lay down last night I was thinking
Must I kill that woman? Must I kill that woman?
Oh Lord I get down on my knees
They tell me God forgivin' everything you do
But I don't care what the people say
I'm gonna kill that woman,
I'm gonna kill that woman, God knows
I'm gonna get down on my knees
I'm Gonna Kill That Woman - Nick Cave and the Bad Seeds
3. Weeping Annaleah (Mickey Newbury, Dan Folger) - Tom Jones
Yesterday the sun was shining but you're finding the sun it
Don't shine all the time
A winter day suddenly came your way
And you ran into your mind
Sleeping Annaleah, weeping Annaleah
Do you think you're ready for me?
Oh and yesterday is gone forever and ever, never
To be again
You looked for the sunshine, that brought warmth to your mind
But find only rain
Sleeping Annaleah, weeping Annaleah
No, you're not ready for me
But when yesterday becomes a memory, a memory
That we uncovered in time
If you still remember that cold September
I reigned in your mind
Sleeping Annaleah, weeping Analeah
Then you'd be ready for me
Sleeping Annaleah - Nick Cave and the Bad Seeds
Kicking Against the Pricks #1
Kicking Against the Pricks is the third album released by Nick Cave and the Bad Seeds.
First released in 1986, the album is a collection of cover versions. The title refers to a passage from the King James Version of the Bible (Acts 9:5, 22:8b and 26:14), the first and second of which reads: "I am Jesus whom thou persecutest: it is hard for thee to kick against the pricks" (though the reference to "kick against the pricks" (or "goads") is omitted in many modern versions of the Bible, it is still referenced in Acts 26:14, when Jesus said, "Saul, Saul, why are you persecuting me? It is hard for you to kick against the goad."). The phrase refers to the futility of an ox kicking in irritation at the sharpened wooden rod, called a prick or goad, used by his driver when tilling soil.
The album marked the Bad Seeds debut of drummer Thomas Wydler, expanding the Bad Seeds line-up to Cave, Wydler, Mick Harvey, Blixa Bargeld and Barry Adamson.
Remarking on the song selection, Cave said, "They were all done for different reasons. Basically a list of songs were made and we tried to play them. We tried songs by The Loved Ones and The Saints and all sorts of people that never got on the record. Some songs were tributes, like the Tom Jones song; other songs we didn't think the song was ever done particularly well in the first place. Some songs had just kind of haunted my childhood, like "The Carnival is Over", which I always loved."[SUP][[/SUP][SUP]5]
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The strings were arranged by Mick Harvey and played by the Berliner Kaffeehausmusik Ensemble. "The Hammer Song" is not to be confused with the song of the same name from the 1990 Bad Seeds album The Good Son.
1. Muddy Water (Phil Rosenthal) - The Seldom Scene
Mary, grab the baby, river's rising
Muddy water's taking back the land
Well this old house, it won't take one more beating
Ain't no use to stay and make a stand
The morning light showed water in the valley
Daddy's grave just went below the line
Things to save you just can't take them with you
The flood will swallow all we leave behind
I won't be back to start all over
'Cause what I felt before is gone
Mary, grab the baby river's rising
Muddy water's taking back our home
Now the road is gone, there's just one way to leave here
I'll turn my back on what I've left below
Shifting land and broken farms around me
Muddy water's changing all I know
It's hard to say just what I'm losing
Ain't never been so all alone
Mary, grab the baby river's rising
Muddy water's taking back my home
Well, muddy water's taking back my home
Muddy Water - Nick Cave and the Bad Seeds
2. I'm Gonna Kill That Woman - John Lee Hooker
Yeah, my baby left me this morning
And I don't care now, I don't care what the people say
Yeah, I did everything that I could, everything I could,
Lord knows I did not leave her
I tried to satisfy her worried mind, that's what I did
You know she was nothing but trouble, trouble
She keep me worried all the time
God knows her movements are killing me
Yeah, my baby stayed out all night long, all night long
She keep me worried all the time
Yeah, I lay down last night I was thinking
Must I kill that woman? Must I kill that woman?
Oh Lord I get down on my knees
They tell me God forgivin' everything you do
But I don't care what the people say
I'm gonna kill that woman,
I'm gonna kill that woman, God knows
I'm gonna get down on my knees
I'm Gonna Kill That Woman - Nick Cave and the Bad Seeds
3. Weeping Annaleah (Mickey Newbury, Dan Folger) - Tom Jones
Yesterday the sun was shining but you're finding the sun it
Don't shine all the time
A winter day suddenly came your way
And you ran into your mind
Sleeping Annaleah, weeping Annaleah
Do you think you're ready for me?
Oh and yesterday is gone forever and ever, never
To be again
You looked for the sunshine, that brought warmth to your mind
But find only rain
Sleeping Annaleah, weeping Annaleah
No, you're not ready for me
But when yesterday becomes a memory, a memory
That we uncovered in time
If you still remember that cold September
I reigned in your mind
Sleeping Annaleah, weeping Analeah
Then you'd be ready for me
Sleeping Annaleah - Nick Cave and the Bad Seeds
...
Kicking Against the Pricks #2
4. Long Black Veil (Danny Dill, Marijohn Wilkin) - Johnny Cash & Joni Mitchell
Ten years ago, on a cold dark night
Someone was killed, 'neath the town hall light
There were few at the scene but they all agreed
That the slayer who ran looked a lot like me
She walks these hills in a long black veil
She visits my grave when the night winds wail
Nobody knows, nobody sees
Nobody knows but me
The judge said, "Son, what is your alibi?
If you were somewhere else, then you won't have to die"
I spoke not a word, though it meant my life
I'd been in the arms of my best friend's wife
Now the scaffold is high and eternity's near
She stood in the crowd but she shed not a tear
But sometimes at night, when the cold wind calls
She comes to my grave and she moans over my bones
She walks these hills in a long black veil
She visits my grave when the night winds wail
Nobody knows, nobody sees
Nobody knows but me
Long Black Veil - Nick Cave and the Bad Seeds
5. Hey Joe (Billy Roberts) - The Leaves
Hey Joe (+ Purple Haze) - The Jimi Hendrix Experience
Hey Joe, where you goin' with that gun in your hand
Hey Joe, I said where you goin' with that gun in your hand
I'm going down to shoot my old lady
You know, I've caught her messin' around with another man
And that ain't too cool
Hey Joe, I've heard you shot your woman down,
Shot her down, now
Hey Joe, I said I've heard you shot your old lady down,
You shot her down to the ground
Yes I did, I shot her
You know, I caught her messin' round, messin' round town
And I gave her the gun
I shot her
Hey Joe, I said
Where you gonna run to now?
Where you you gonna go?
I'm goin' way down south
Way down to Mexico way
I'm goin' way down south
Way down where I can be free
Ain't no one gonna find me
Ain't no hangman gonna
He ain't gonna put a rope around me
You better believe it
I gotta go now
Hey Joe, you better run on down
Goodbye everybody
Hey Joe - Nick Cave and the Bad Seeds
Kicking Against the Pricks #2
4. Long Black Veil (Danny Dill, Marijohn Wilkin) - Johnny Cash & Joni Mitchell
Ten years ago, on a cold dark night
Someone was killed, 'neath the town hall light
There were few at the scene but they all agreed
That the slayer who ran looked a lot like me
She walks these hills in a long black veil
She visits my grave when the night winds wail
Nobody knows, nobody sees
Nobody knows but me
The judge said, "Son, what is your alibi?
If you were somewhere else, then you won't have to die"
I spoke not a word, though it meant my life
I'd been in the arms of my best friend's wife
Now the scaffold is high and eternity's near
She stood in the crowd but she shed not a tear
But sometimes at night, when the cold wind calls
She comes to my grave and she moans over my bones
She walks these hills in a long black veil
She visits my grave when the night winds wail
Nobody knows, nobody sees
Nobody knows but me
Long Black Veil - Nick Cave and the Bad Seeds
5. Hey Joe (Billy Roberts) - The Leaves
Hey Joe (+ Purple Haze) - The Jimi Hendrix Experience
Hey Joe, where you goin' with that gun in your hand
Hey Joe, I said where you goin' with that gun in your hand
I'm going down to shoot my old lady
You know, I've caught her messin' around with another man
And that ain't too cool
Hey Joe, I've heard you shot your woman down,
Shot her down, now
Hey Joe, I said I've heard you shot your old lady down,
You shot her down to the ground
Yes I did, I shot her
You know, I caught her messin' round, messin' round town
And I gave her the gun
I shot her
Hey Joe, I said
Where you gonna run to now?
Where you you gonna go?
I'm goin' way down south
Way down to Mexico way
I'm goin' way down south
Way down where I can be free
Ain't no one gonna find me
Ain't no hangman gonna
He ain't gonna put a rope around me
You better believe it
I gotta go now
Hey Joe, you better run on down
Goodbye everybody
Hey Joe - Nick Cave and the Bad Seeds
...
Kicking Against the Pricks #3
6. The Folk Singer (Johnny Cash, Charlie Daniels) - Johnny Cash
As I walk these narrow streets where a million passing feet have trod before me
With my guitar in my hand suddenly I realize nobody knows me
Where yesterday the multitude screamed and cried my name out for a song
Today the streets are empty and the crowds have all gone home
I pass a million houses but there is no place where I belong
All I knew to give you was song after song after song
All the truths I tried to tell you were as distant to you as the moon
Born 200 years too late and 200 years too soon
I'm a child of this age locked inside the pages of your book
And when I am but dust and clay and other children stop to take a look
Will they marvel at the miracles I did perform and to the heights I did inspired?
Or will they tear out the pages of the book to light a fire
With the rain on my face there is no place where I belong
Did you forget the folk singer so soon?
And did you forget my song?
The Singer - Nick Cave and the Bad Seeds
7. Looky Looky Yonder / Black Betty / Yellow Woman's Doorbell - Huddie "Lead Belly" Ledbetter
Looky looky yonder
Looky looky yonder
Looky looky yonder
Where the sun done gone
The cap'n can't hold 'em
Oh, the way I do
Yes, Adie got a gold mine
Way above her knee
I's just walking
All day long
She's been talking
Babe, all day long
==========================
Oh, Black Betty (bam-ba-lam)
Black Betty, Black Betty
Jump steady, Black Betty
Look yonder, Black Betty
Turn around, Black Betty
Jump down, Black Betty
Black Betty had a baby
The little thing went crazy
The little thing went blind
She said, "I'm worryin' outta mind"
What about Black Betty?
Oh, Black Betty
Hey, Black Betty
==========================
That Monday, baby, I was arrested
Lawd, Lawd, Lawd
On Tuesday, I was locked up in jail
On Wednesday, my trial was attested
On Thursday, nobody couldn't call my bail
Yes, I'm all, almost done
And I ain't gonna ring the yellow woman's door bell
Last Monday, baby, I went a'walking
On Tuesday, she shoved me out the door
On Wednesday, we was sittin' down a'talking
On Thursday, she pawned all of my clothes
Black Betty - Nick Cave and the Bad Seeds
8. Running Scared (Roy Orbison, Joe Melson) - Roy Orbison
Just runnin' scared each place we go
So afraid that he might show
Yeah, runnin' scared, what would I do
If he came back and wanted you
Just runnin' scared, feelin' low
Runnin' scared, you love him so
Just runnin' scared, afraid to lose
If he came back, which one would you choose
Then all at once he was standing there
So sure of himself, his head in the air
My heart was breaking, which one would it be
You turned around and walked away with me
Running Scared - Nick Cave and the Bad Seeds
Kicking Against the Pricks #3
6. The Folk Singer (Johnny Cash, Charlie Daniels) - Johnny Cash
As I walk these narrow streets where a million passing feet have trod before me
With my guitar in my hand suddenly I realize nobody knows me
Where yesterday the multitude screamed and cried my name out for a song
Today the streets are empty and the crowds have all gone home
I pass a million houses but there is no place where I belong
All I knew to give you was song after song after song
All the truths I tried to tell you were as distant to you as the moon
Born 200 years too late and 200 years too soon
I'm a child of this age locked inside the pages of your book
And when I am but dust and clay and other children stop to take a look
Will they marvel at the miracles I did perform and to the heights I did inspired?
Or will they tear out the pages of the book to light a fire
With the rain on my face there is no place where I belong
Did you forget the folk singer so soon?
And did you forget my song?
The Singer - Nick Cave and the Bad Seeds
7. Looky Looky Yonder / Black Betty / Yellow Woman's Doorbell - Huddie "Lead Belly" Ledbetter
Looky looky yonder
Looky looky yonder
Looky looky yonder
Where the sun done gone
The cap'n can't hold 'em
Oh, the way I do
Yes, Adie got a gold mine
Way above her knee
I's just walking
All day long
She's been talking
Babe, all day long
==========================
Oh, Black Betty (bam-ba-lam)
Black Betty, Black Betty
Jump steady, Black Betty
Look yonder, Black Betty
Turn around, Black Betty
Jump down, Black Betty
Black Betty had a baby
The little thing went crazy
The little thing went blind
She said, "I'm worryin' outta mind"
What about Black Betty?
Oh, Black Betty
Hey, Black Betty
==========================
That Monday, baby, I was arrested
Lawd, Lawd, Lawd
On Tuesday, I was locked up in jail
On Wednesday, my trial was attested
On Thursday, nobody couldn't call my bail
Yes, I'm all, almost done
And I ain't gonna ring the yellow woman's door bell
Last Monday, baby, I went a'walking
On Tuesday, she shoved me out the door
On Wednesday, we was sittin' down a'talking
On Thursday, she pawned all of my clothes
Black Betty - Nick Cave and the Bad Seeds
8. Running Scared (Roy Orbison, Joe Melson) - Roy Orbison
Just runnin' scared each place we go
So afraid that he might show
Yeah, runnin' scared, what would I do
If he came back and wanted you
Just runnin' scared, feelin' low
Runnin' scared, you love him so
Just runnin' scared, afraid to lose
If he came back, which one would you choose
Then all at once he was standing there
So sure of himself, his head in the air
My heart was breaking, which one would it be
You turned around and walked away with me
Running Scared - Nick Cave and the Bad Seeds
...
Kicking Against the Pricks #4
9. All Tomorrow's Parties (Lou Reed) - The Velvet Underground & Nico
And what costume shall the poor girl wear
To all tomorrow's parties
A hand-me-down dress from who knows where
To all tomorrow's parties
And where will she go, and what shall she do
When midnight comes around
She'll turn once more to Sunday's clown and cry behind the door
And what costume shall the poor girl wear
To all tomorrow's parties
Why silks and linens of yesterday's gowns
To all tomorrow's parties
And what will she do with Thursday's rags
When Monday comes around
She'll turn once more to Sunday's clown and cry behind the door
And what costume shall the poor girl wear
To all tomorrow's parties
For Thursday's child is Sunday's clown
For whom none will go mourning
A blackened shroud
A hand-me-down gown
Of rags and silks - a costume
Fit for one who sits and cries
For all tomorrow's parties
All Tomorrow's Parties - Nick Cave and the Bad Seeds
10. By the Time I Get to Phoenix (Jimmy Webb) - Jimmy Webb
By the time I get to Phoenix she'll be rising
She'll find the note I left hangin' on her door
She'll laugh when she reads the part that says I'm leaving
'Cause I've left that girl so many times before
By the time I make Albuquerque she'll be working
She'll prob'ly stop at lunch and give me a call
But she'll just hear that phone keep on ringing
Off the wall, that's all
By the time I make Oklahoma she'll be sleeping
She'll turn softly and call my name out low
And she'll cry just to think I'd really leave her
though time and time I've tried to tell her so
She just didn't know I would really go
I've tried to tell her so
Tried to tell that woman so
By the Time I Get to Phoenix - Marvin Gaye
By the Time I Get to Phoenix - Nick Cave and the Bad Seeds
Kicking Against the Pricks #4
9. All Tomorrow's Parties (Lou Reed) - The Velvet Underground & Nico
And what costume shall the poor girl wear
To all tomorrow's parties
A hand-me-down dress from who knows where
To all tomorrow's parties
And where will she go, and what shall she do
When midnight comes around
She'll turn once more to Sunday's clown and cry behind the door
And what costume shall the poor girl wear
To all tomorrow's parties
Why silks and linens of yesterday's gowns
To all tomorrow's parties
And what will she do with Thursday's rags
When Monday comes around
She'll turn once more to Sunday's clown and cry behind the door
And what costume shall the poor girl wear
To all tomorrow's parties
For Thursday's child is Sunday's clown
For whom none will go mourning
A blackened shroud
A hand-me-down gown
Of rags and silks - a costume
Fit for one who sits and cries
For all tomorrow's parties
All Tomorrow's Parties - Nick Cave and the Bad Seeds
10. By the Time I Get to Phoenix (Jimmy Webb) - Jimmy Webb
By the time I get to Phoenix she'll be rising
She'll find the note I left hangin' on her door
She'll laugh when she reads the part that says I'm leaving
'Cause I've left that girl so many times before
By the time I make Albuquerque she'll be working
She'll prob'ly stop at lunch and give me a call
But she'll just hear that phone keep on ringing
Off the wall, that's all
By the time I make Oklahoma she'll be sleeping
She'll turn softly and call my name out low
And she'll cry just to think I'd really leave her
though time and time I've tried to tell her so
She just didn't know I would really go
I've tried to tell her so
Tried to tell that woman so
By the Time I Get to Phoenix - Marvin Gaye
By the Time I Get to Phoenix - Nick Cave and the Bad Seeds
...
Kicking Against the Pricks #5
11. The Hammer Song (Alex Harvey) - The Sensational Alex Harvey Band
"Oh please, don't sell me out"
said the man with the hammer
hammering the anvil
"I've been walking on the road of rocks
and I keep on hammering
keep on hammering
keep on hammering
hammering the anvil."
"Don't let the sun go down"
said the man with the fire
firing the furnace
"I've been buried in the snow
and I keep on firing
keep on firing
keep on firing
firing the furnace."
"Don't talk to me"
said the man with the chisel
chiseling the surface
"I've been sleeping far too long
and I keep on chiseling
keep on chiseling
keep on chiseling
chiseling the surface."
"I don't know what you mean"
said the man with the shovel
shoveling the ashes
"I've been diggin' in the frozen ground
and I keep on shoveling
keep on shoveling
keep on shoveling
shoveling the ashes."
Chiseling the surface
Firing the furnace
Hammering the anvil
Hammering the anvil
Shoveling the ashes
Chiseling the surface
Firing the furnace
Hammering the anvil
Keeping on, keeping on, keeping on
Hammering the anvil
I'm gonna keep on, keep on, keep on, keep on hammering
I'm gonna keep on, keep on, keep on, keep on hammering
The Hammer Song - Nick Cave and the Bad Seeds
Με αυτό το τραγούδι έχω μια μικρή ιστορία. Το Μάιο του 1989, ο Κέιβ με τους Κακόσπορούς του είχε έρθει στην Αθήνα για τρεις συναυλίες στο Ρόδον. Ο διοργανωτής είχε φιλίες με τον ιδιοκτήτη του μπαρ όπου δούλευα ντιτζέι κι έπεισε τον Κέιβ να έρθει εκεί αργά μετά την εμφάνιση, μαζί με όσους από τους Κακόσπορους είχαν όρεξη.
Την πρώτη βραδιά, ο Κέιβ ήταν σπηλαιώδης σαν τη φωνή του, βαρύς κι ασήκωτος, όχι μόνο λόγω κούρασης και δυσθυμίας —κυρίως λόγω χημείας, αλλά και μη χημείας: του είχαν ρίξει οι δημοσιοσχεσίτες από δίπλα μια ντόπια δίμετρη μελαχρινή θεά που τον γλυκοκοίταζε φορτικά, μα εκείνος ούτε που γύριζε να την κοιτάξει, μόνο έπινε· εκείνη τη χαλβάδιαζε όλος ο ανδρικός πληθυσμός. Την επομένη τα ίδια (χωρίς τη δίμετρη, είδε κι απόειδε), ωστόσο εκείνο το βράδυ ήρθε μαζί και ο Μπλίξα, καλόχαρος, φιλικότατος, χαμογελαστός και ακμαιότατος, κι όπως ήταν φυσικό, τον πλησίασα, τον ευχαρίστησα για τις μουσικές του που με είχαν γοητεύσει και τον προσκάλεσα στα πλατό, αν είχε διάθεση. Διάθεση; Τη σκούφια του πέταξε κι άρχισε να παίζει με τους δίσκους μου, κι έγινε ανάστα ο Μπάργκελντ.
Κάποια στιγμή, του ζήτησα να παίξει κι ένα δικό τους, αν ήθελε. Με καλοκοίταξε, το καλοσκέφτηκε και, με μια κατεργάρικη λάμψη σ' εκείνα τα διαπεραστικά μάτια, μου είπε στ' αγγλικά με τη συριζτική γερμανική προφορά του ότι θα παίξει ένα δικό τους που δεν ήταν δικό τους αρκεί να του έβρισκα ένα σφυρί. Πήγα πίσω στην αποθήκη, σκάλισα λίγο κι επέστρεψα στα πλατό με ένα μικρό σφυρί ηλεκτρολόγου που βρήκα πρόχειρο. Πιάνει ο Μπλίξα το βινύλιο του Kicking Against the Pricks (που μετά το ξαναγόρασα γιατί το είχα λιώσει στο πικάπ), βάζει τη δεύτερη πλευρά και πριν ακουμπήσει τη βελόνα του ΜΚ2 στο τρίτο κομμάτι, το αποπάνω, λέει σε μια φίλη μου ξετρελαμένη μαζί του (που όλη την ώρα συνόδευε τραγουδιστά και χορευτά ό,τι έβαζε ο Μπλίξα) να 'ρθει μέσα από τη μπάρα, δίπλα μας (δεν χρειάστηκε να της το ξαναπεί). Βάζει ο Μπλίξα τη βελόνα στ' αυλάκι, δίνει στη φίλη το σφυράκι και της λέει σε κάθε χτύπο του κομματιού να ρίχνει μια σφυριά στην ξύλινη μπάρα. Keep on hammering, keep on hammering the wood top. Το καταχάρηκε ο Μπλίξα, το καταχάρηκε εκείνη, το καταχάρηκα κι εγώ, μόνο ο ιδιοκτήτης δεν το καταχάρηκε —αλλά τον παραμυθιάσαμε μετά ότι τα σημάδια απ' το σφυρί ήταν ιστορικά και θα ανέβαζαν την αξία της μπάρας και του μπαρ (και τον στείλαμε να μετρήσει τις μεγαλύτερες εισπράξεις που έκανε ποτέ το μαγαζί του).
Ευτυχώς που δεν είχα φέρει τη βαριά.
12. Something's Gotten Hold of My Heart (Roger Greenaway, Roger Cook) - Gene Pitney
Something's gotten hold of my heart
Keeping my soul and my senses apart
Something's gotten into my life
Cutting its way through my dreams like a knife
Turning me up and turning me down
Making me smile and making me frown
In a world that was small
I once lived in a time there was peace with no trouble at all
But then you came my way
And a feeling unknown shook my heart, made me want you to stay
All of my nights and all of my days
I gotta tell you now
Something's gotten hold of my hand
Dragging my soul to a beautiful land
Something has invaded my nights
Painting my sleep with a colour so bright
Changing the grey and changing the blue
Scarlet for me and scarlet for you
I've got to know if this is the real thing
I've got to know what's making my heart sing
You smile and I am lost for a lifetime
Each minute spent with you is the right time
Every hour, every day
You touch me and my mind goes astray
Something's Gotten Hold of My Heart - Nick Cave and the Bad Seeds
13. Jesus Met the Woman at the Well (Traditional, Arranged J. W. Alexander) - The Pilgrim Travelers (6:34)
Jesus met the woman at the well
Jesus met the woman at the well
And he told her, everything that she'd done, that she'd done
And he said, woman, look-a here woman,
Tell me where is your husband?
She said whoa, whoa, whoa, whoa, I don't have one
He said, woman, look-a here woman,
They tell me you have five husbands
And that man you have now sure ain't one
She went running, crying, God help me
She said whoa, whoa, whoa, whoa, you must be the prophet
Because you told me everything that I've done
Jesus Met the Woman at the Well - Nick Cave and the Bad Seeds
Kicking Against the Pricks #5
11. The Hammer Song (Alex Harvey) - The Sensational Alex Harvey Band
"Oh please, don't sell me out"
said the man with the hammer
hammering the anvil
"I've been walking on the road of rocks
and I keep on hammering
keep on hammering
keep on hammering
hammering the anvil."
"Don't let the sun go down"
said the man with the fire
firing the furnace
"I've been buried in the snow
and I keep on firing
keep on firing
keep on firing
firing the furnace."
"Don't talk to me"
said the man with the chisel
chiseling the surface
"I've been sleeping far too long
and I keep on chiseling
keep on chiseling
keep on chiseling
chiseling the surface."
"I don't know what you mean"
said the man with the shovel
shoveling the ashes
"I've been diggin' in the frozen ground
and I keep on shoveling
keep on shoveling
keep on shoveling
shoveling the ashes."
Chiseling the surface
Firing the furnace
Hammering the anvil
Hammering the anvil
Shoveling the ashes
Chiseling the surface
Firing the furnace
Hammering the anvil
Keeping on, keeping on, keeping on
Hammering the anvil
I'm gonna keep on, keep on, keep on, keep on hammering
I'm gonna keep on, keep on, keep on, keep on hammering
The Hammer Song - Nick Cave and the Bad Seeds
Με αυτό το τραγούδι έχω μια μικρή ιστορία. Το Μάιο του 1989, ο Κέιβ με τους Κακόσπορούς του είχε έρθει στην Αθήνα για τρεις συναυλίες στο Ρόδον. Ο διοργανωτής είχε φιλίες με τον ιδιοκτήτη του μπαρ όπου δούλευα ντιτζέι κι έπεισε τον Κέιβ να έρθει εκεί αργά μετά την εμφάνιση, μαζί με όσους από τους Κακόσπορους είχαν όρεξη.
Την πρώτη βραδιά, ο Κέιβ ήταν σπηλαιώδης σαν τη φωνή του, βαρύς κι ασήκωτος, όχι μόνο λόγω κούρασης και δυσθυμίας —κυρίως λόγω χημείας, αλλά και μη χημείας: του είχαν ρίξει οι δημοσιοσχεσίτες από δίπλα μια ντόπια δίμετρη μελαχρινή θεά που τον γλυκοκοίταζε φορτικά, μα εκείνος ούτε που γύριζε να την κοιτάξει, μόνο έπινε· εκείνη τη χαλβάδιαζε όλος ο ανδρικός πληθυσμός. Την επομένη τα ίδια (χωρίς τη δίμετρη, είδε κι απόειδε), ωστόσο εκείνο το βράδυ ήρθε μαζί και ο Μπλίξα, καλόχαρος, φιλικότατος, χαμογελαστός και ακμαιότατος, κι όπως ήταν φυσικό, τον πλησίασα, τον ευχαρίστησα για τις μουσικές του που με είχαν γοητεύσει και τον προσκάλεσα στα πλατό, αν είχε διάθεση. Διάθεση; Τη σκούφια του πέταξε κι άρχισε να παίζει με τους δίσκους μου, κι έγινε ανάστα ο Μπάργκελντ.
Κάποια στιγμή, του ζήτησα να παίξει κι ένα δικό τους, αν ήθελε. Με καλοκοίταξε, το καλοσκέφτηκε και, με μια κατεργάρικη λάμψη σ' εκείνα τα διαπεραστικά μάτια, μου είπε στ' αγγλικά με τη συριζτική γερμανική προφορά του ότι θα παίξει ένα δικό τους που δεν ήταν δικό τους αρκεί να του έβρισκα ένα σφυρί. Πήγα πίσω στην αποθήκη, σκάλισα λίγο κι επέστρεψα στα πλατό με ένα μικρό σφυρί ηλεκτρολόγου που βρήκα πρόχειρο. Πιάνει ο Μπλίξα το βινύλιο του Kicking Against the Pricks (που μετά το ξαναγόρασα γιατί το είχα λιώσει στο πικάπ), βάζει τη δεύτερη πλευρά και πριν ακουμπήσει τη βελόνα του ΜΚ2 στο τρίτο κομμάτι, το αποπάνω, λέει σε μια φίλη μου ξετρελαμένη μαζί του (που όλη την ώρα συνόδευε τραγουδιστά και χορευτά ό,τι έβαζε ο Μπλίξα) να 'ρθει μέσα από τη μπάρα, δίπλα μας (δεν χρειάστηκε να της το ξαναπεί). Βάζει ο Μπλίξα τη βελόνα στ' αυλάκι, δίνει στη φίλη το σφυράκι και της λέει σε κάθε χτύπο του κομματιού να ρίχνει μια σφυριά στην ξύλινη μπάρα. Keep on hammering, keep on hammering the wood top. Το καταχάρηκε ο Μπλίξα, το καταχάρηκε εκείνη, το καταχάρηκα κι εγώ, μόνο ο ιδιοκτήτης δεν το καταχάρηκε —αλλά τον παραμυθιάσαμε μετά ότι τα σημάδια απ' το σφυρί ήταν ιστορικά και θα ανέβαζαν την αξία της μπάρας και του μπαρ (και τον στείλαμε να μετρήσει τις μεγαλύτερες εισπράξεις που έκανε ποτέ το μαγαζί του).
Ευτυχώς που δεν είχα φέρει τη βαριά.
12. Something's Gotten Hold of My Heart (Roger Greenaway, Roger Cook) - Gene Pitney
Something's gotten hold of my heart
Keeping my soul and my senses apart
Something's gotten into my life
Cutting its way through my dreams like a knife
Turning me up and turning me down
Making me smile and making me frown
In a world that was small
I once lived in a time there was peace with no trouble at all
But then you came my way
And a feeling unknown shook my heart, made me want you to stay
All of my nights and all of my days
I gotta tell you now
Something's gotten hold of my hand
Dragging my soul to a beautiful land
Something has invaded my nights
Painting my sleep with a colour so bright
Changing the grey and changing the blue
Scarlet for me and scarlet for you
I've got to know if this is the real thing
I've got to know what's making my heart sing
You smile and I am lost for a lifetime
Each minute spent with you is the right time
Every hour, every day
You touch me and my mind goes astray
Something's Gotten Hold of My Heart - Nick Cave and the Bad Seeds
13. Jesus Met the Woman at the Well (Traditional, Arranged J. W. Alexander) - The Pilgrim Travelers (6:34)
Jesus met the woman at the well
Jesus met the woman at the well
And he told her, everything that she'd done, that she'd done
And he said, woman, look-a here woman,
Tell me where is your husband?
She said whoa, whoa, whoa, whoa, I don't have one
He said, woman, look-a here woman,
They tell me you have five husbands
And that man you have now sure ain't one
She went running, crying, God help me
She said whoa, whoa, whoa, whoa, you must be the prophet
Because you told me everything that I've done
Jesus Met the Woman at the Well - Nick Cave and the Bad Seeds
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Kicking Against the Pricks #6
14. The Carnival Is Over (Tom Springfield) - The Seekers
Farewell concert, BBC, 1968
Say goodbye my own true lover
As we sing a lover's song
How it breaks my heart to leave you
Now the carnival is gone
High above the dawn is waking
And my tears are falling rain
For the carnival is over
We may never meet again
Like a drum my heart was beating
And your kiss was sweet as wine
But the joys of love are fleeting
For Pierrot and Columbine
Now the harbour light is calling
This will be our last goodbye
Tho' the carnival is over
I will love you till I die
The Carnival Is Over - Nick Cave and the Bad Seeds
Do you love me like I love you - Part 3: Kicking Against The Pricks (Excerpt) - Iain Forsyth & Jane Pollard
20,000 Days on Earth
Kicking Against the Pricks #6
14. The Carnival Is Over (Tom Springfield) - The Seekers
Say goodbye my own true lover
As we sing a lover's song
How it breaks my heart to leave you
Now the carnival is gone
High above the dawn is waking
And my tears are falling rain
For the carnival is over
We may never meet again
Like a drum my heart was beating
And your kiss was sweet as wine
But the joys of love are fleeting
For Pierrot and Columbine
Now the harbour light is calling
This will be our last goodbye
Tho' the carnival is over
I will love you till I die
The Carnival Is Over - Nick Cave and the Bad Seeds
Do you love me like I love you - Part 3: Kicking Against The Pricks (Excerpt) - Iain Forsyth & Jane Pollard
20,000 Days on Earth
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Δημήτρης Πολύτιμος, ο γηραιότερος Έλληνας ρόκερ ...................................[Βύρων Κριτζάς, popaganda, 20-1-2014]
Με αφορμή την επερχόμενη συναυλία στο Gagarin μαζί με το συνοδοιπόρο του Δημήτρη Πουλικάκο, ο πιανίστας Δημήτρης Πολύτιμος, 81 ετών πια, μας διηγήθηκε τη ζωή του.
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Είναι ο ψιλόλιγνος τύπος που θυμίζει έντονα Jarvis Cocker στην τελευταία σκηνή των «Κουρελιών» του Νικολαΐδη. Είναι ο μουσικός που παίζει το θεϊκό πιανάκι στα τελευταία δευτερόλεπτα του «Εν Κατακλείδι» του Σιδηρόπουλου. Είναι, τέλος, ο άνθρωπος που βίωσε στο πετσί του όλη την ελληνική ροκ σκηνή, από τα κλαμπ των 60’s μέχρι την αυτοεξορία στη Χούντα, τη χρυσή εποχή των ύστερων 70’s, τη μετέπειτα παρακμή, το «κρατιόμαστε ακόμα».
Πράος, χαμογελαστός, με μια κοσμοπολίτικη αύρα, παράξενα νεανικός και πατώντας ελαφρά στο έδαφος, μας υποδέχτηκε στο σπίτι του στο Μαρούσι. Ανάμεσα σε εκατοντάδες, χιλιάδες ίσως κιτρινισμένα βιβλία, παλιά κασετόφωνα, μπόλικα cd που μαρτυρούν πως δεν έμεινε κολλημένος στη βελόνα και δύο πιάνα, μας μίλησε με ζωντάνια για το παρελθόν, σα να ξαναζούσε τις στιγμές. Πολύτιμος συνεργάτης και φίλος του Πουλικάκου εδώ και δεκαετίες, ο Πολύτιμος κλείνει φέτος 49 χρόνια on the road και μαζί με τον Θείο Νώντα, που κλείνει 47, είπαν να το γιορτάσουν, αγνοώντας το μη στρογγυλό των αριθμών, με εκλεκτούς καλεσμένους σε ένα διήμερο πάρτι στο Gagarin. Το ονόμασαν «Παραμύθι χωρίς όνομα».
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«Ό,τι θυμάμαι, θα στο πω.
...
Τα πρώτα μου ακούσματα ήρθαν απ’ την κλασική μουσική. Ο πατέρας μου στον ελεύθερό του χρόνο έπαιζε βιολί και η μητέρα μου πιάνο. Κάθε Κυριακή, όπως άλλοι πάνε τα παιδιά τους να κοινωνήσουν, εμάς με την αδερφή μου μας βάζανε να ακούμε μουσική. Θέλαμε να βγούμε έξω να παίξουμε βέβαια, αλλά τελικά καλό μας έκανε. Άρχισα μαθήματα πιάνου. Κυρίως άκουγα τζαζ, από ένα σταθμό που λεγόταν «Ρυθμική Λέσχη» αν δεν κάνω λάθος, αλλά και μέσω φίλων που έφερναν δίσκους από την Αμερική. Υπήρχε τότε το τζαζ κλαμπ της Ελληνοαμερικανικής Ενώσεως, όπου γνώρισα τον Βαγγέλη Παπαθανασίου. Θυμάμαι και τον Πλέσσα να παίζει εκεί.
MGC, 1967
Στην «Κουκουβάγια» ήρθαν και μας βρήκαν οι πρώτοι MGC, οι οποίοι έπαιζαν τότε στις «Εννέα Μούσες». Ο ντράμερ τους, που ήταν ο Άλκης Παναγιωτίδης ο ηθοποιός, τσακώθηκε με τον πιανίστα και φύγανε. Οπότε ήρθαν οι υπόλοιποι στην «Κουκουβάγια», για να καλύψουν το κενό τους. Εμείς παίρναμε καλούτσικα λεφτά τότε, αλλά μας πίεσαν, δεχτήκαμε και πήγαμε όλοι μαζί στις «Εννέα Μούσες», όπου έγινε κυριολεκτικά ο χαμός. Παίζαμε διασκευές Stones, Dylan, Cream, Hendrix, τέτοια. Δεν τραγουδούσαμε καθόλου ελληνικά ή ιταλικά, όπως άλλοι, γι’ αυτό και τα βιβλία μας γράφουν ως το πρώτο αμιγώς ροκ συγκρότημα στην Ελλάδα.
Το ’67 παίξαμε support στους Stones. Θυμάμαι πως μου είχε δώσει πάσο ο Νίκος Μαστοράκης να βρίσκομαι στο πλάι της σκηνής και έβλεπα τον Brian Jones από τα τρία μέτρα. Γιατί διακόπηκε η συναυλία; Πήγε ένας από τους ανθρώπους του γκρουπ να μοιράσει λουλούδια στον κόσμο, η αστυνομία το θεώρησε ύποπτο και άρχισε να επιτίθεται. Δύο λεπτά μετά, ο Jagger βλέπει τον άνθρωπό του με σπασμένα γυαλιά, θυμώνει, λέει το “Satisfaction” και φεύγει. Ήταν περίπου στα μισά του live. Νιώσαμε λοιπόν πως κάτι δεν πήγαινε καλά. Ε, και σε λίγες μέρες ήρθε η Χούντα…
...
Το καλοκαίρι του ’69 πια, ο Πουλικάκος φεύγει Λονδίνο κι εγώ Παρίσι. Εκεί, έκανα φωνητικά στο «666» των Aphrodite’s Child. Ύστερα πήγα Αμερική, πήγα Ασία, πέρασα από Αγγλία τέσσερεις μήνες όπου δούλεψα ως μουσικός σε διαφημιστικά και γύρισα πίσω το ’74, μετά τη Χούντα.
Στην Αθήνα πια, μια μέρα καθόμουν στο Βυζάντιο στο Κολωνάκι και με πλησιάζουν οι Socrates, oπότε ξεκίνησα συνεργασία μ’ αυτούς. Ύστερα έπαιξα στο «Μεταφοραί Εκδρομαί ο Μήτσος», στο «Φλου» και στο «Ζωντανοί στο Κύτταρο» που ήταν ο πρώτος ελληνικός ροκ live δίσκος. Σημαδιακοί δίσκοι – και κατά τύχη παίζω και στους τρεις! Θυμάμαι στις ηχογραφήσεις υπήρχε πίεση χρόνου. Το ίδιο λένε και οι Stones για τα πρώτα τους singles. Στους παλιούς τους δίσκους έχουνε και φάλτσα, αλλά έχει μια γοητεία αυτό, έναν αυθορμητισμό. Γιατί μετά που ηχογραφούσανε ένα τραγούδι το μήνα, πάει, το χάσανε. Θυμάμαι πως αν έκανα ένα λάθος στο πιάνο, έπρεπε όλη η μπάντα να ξεκινήσει απ' την αρχή. Σήμερα, το λάθος διορθώνεται ψηφιακά.
Με το Σιδηρόπουλο ήμασταν φίλοι. Πήγαινα συχνά σπίτι του, παρακολούθησα το δράμα που είχε με την καταραμένη αυτή ουσία. Ήταν αγνό παιδί… Και ήταν ολοκληρωμένος τραγουδοποιός. Έγραφε τα κομμάτια, έπαιζε και τραγουδούσε. Mετά το θάνατό του, μυθοποιήθηκε κάπως. Ξέρεις πότε το κατάλαβα; Άκουσα την κόρη μου να τραγουδάει ένα τραγούδι του. Όταν της είπα ότι παίζω κι εγώ σ’ αυτό το κομμάτι, έπαθε πλάκα, το ίδιο και οι συμμαθήτριές της. Τότε κατάλαβα πως ο Σιδηρόπουλος είχε γίνει μύθος. Σε αυτό συντέλεσε η ομορφιά του και το γεγονός ότι έφυγε νέος και μάλιστα από ηρωίνη. Αλλά, εντάξει, έκανε σπουδαία δουλειά.
Στο «Crazy love στου Ζωγράφου», βραχήκαμε. Είχε αναβληθεί δύο φορές λόγω βροχής, θυμάμαι. Αλλά τελικά ωραία ήταν, ήρθαν πολλοί μουσικοί, ήρθαν όλοι οι φίλοι μας. Εντάξει, κάποιοι λένε «το ελληνικό Woodstock»… Τι σχέση έχει τώρα μισό εκατομμύριο κόσμου με αυτό που κάναμε εμείς; Ο χρόνος κάποια πράγματα τα μεγεθύνει.
Till the end of the day - Crazy Love στου Ζωγράφου
Με ρωτάνε πώς είναι να παίζω ροκ στα 81 μου. Εντάξει, δεν το περίμενα κι εγώ. Αλλά μου αρέσει το live. Τη βρίσκω… Πολλοί μου λένε ότι μοιάζω νεώτερος και τους απαντάω πως το ροκ με κράτησε έτσι ζωντανό. Έχει αυτή την ενέργεια, το νεύρο. Το θέμα είναι να καταφέρεις να επιβιώσεις. Από τις αφραγκίες, από τις ουσίες, απ’ όλα.
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Ακούω ρεμπέτικα, τζαζ και ροκ, αλλά παλιά ροκ, γιατί στους καινούριους δίσκους από τα δέκα κομμάτια αξίζουν τα δύο. Ενώ παλιά, έβγαινε ένας δίσκος των Stones και λέγαμε «το τέταρτο κομμάτι απ’ τη δεύτερη πλευρά δε μ’ αρέσει», συνέβαινε το ανάποδο δηλαδή. Γενικώς σήμερα έχει κορεστεί το ροκ. Το μπλουζ, αντίθετα, αντέχει. Οι καλοί μουσικοί της τζαζ και της ροκ λένε πως δεν ξέρεις τίποτα, αν δεν παίξεις πρώτα μπλουζ.
Ένα δωδεκαμετράκι ποτ πουρί (Blues Medley) - Crazy Love στου Ζωγράφου
Δήμης Παπαχρήστου (g), Νίκος Πολίτης (g), Δημήτρης Πουλικάκος (g), Δημήτρης Πολύτιμος (keyb.), Λάκης Διακογιάννης (as),
Μάκης Παπαθεοδώρου (ts), Νίκος Πολίτης (harmonica), Άγγελος Μαστοράκης (harmonica)
Το πιο όμορφο πράγμα που έχω δει στη ζωή μου είναι η απίστευτη λάμψη μιας Πακιστανής όταν έμπαινα σε ένα ξενοδοχείο στο Καράτσι, τότε που είχα πάει στην Ασία. Την είδα το ‘72 αλλά τη θυμάμαι ακόμα. Είχε απίστευτη ομορφιά και μια βούλα στο μέτωπο.»
Εν κατακλείδι - Παύλος Σιδηρόπουλος & Σπυριδούλα
Στις 24/01, μαζί με το Δημήτρη Πουλικάκο και το Δημήτρη Πολύτιμο, στο Gagarin θα βρίσκονται ως special guests οι Magic De Spell, Mode Plagal, Κάτω από το Δέντρο και Γιάννης Αγγελάκας, ενώ στις 25/01 οι Απροσάρμοστοι, Last Drive, Σπυριδούλα και Άσσοι του Καράτε.
Δημήτρης Πολύτιμος, ο γηραιότερος Έλληνας ρόκερ ...................................[Βύρων Κριτζάς, popaganda, 20-1-2014]
Με αφορμή την επερχόμενη συναυλία στο Gagarin μαζί με το συνοδοιπόρο του Δημήτρη Πουλικάκο, ο πιανίστας Δημήτρης Πολύτιμος, 81 ετών πια, μας διηγήθηκε τη ζωή του.
...
Είναι ο ψιλόλιγνος τύπος που θυμίζει έντονα Jarvis Cocker στην τελευταία σκηνή των «Κουρελιών» του Νικολαΐδη. Είναι ο μουσικός που παίζει το θεϊκό πιανάκι στα τελευταία δευτερόλεπτα του «Εν Κατακλείδι» του Σιδηρόπουλου. Είναι, τέλος, ο άνθρωπος που βίωσε στο πετσί του όλη την ελληνική ροκ σκηνή, από τα κλαμπ των 60’s μέχρι την αυτοεξορία στη Χούντα, τη χρυσή εποχή των ύστερων 70’s, τη μετέπειτα παρακμή, το «κρατιόμαστε ακόμα».
Πράος, χαμογελαστός, με μια κοσμοπολίτικη αύρα, παράξενα νεανικός και πατώντας ελαφρά στο έδαφος, μας υποδέχτηκε στο σπίτι του στο Μαρούσι. Ανάμεσα σε εκατοντάδες, χιλιάδες ίσως κιτρινισμένα βιβλία, παλιά κασετόφωνα, μπόλικα cd που μαρτυρούν πως δεν έμεινε κολλημένος στη βελόνα και δύο πιάνα, μας μίλησε με ζωντάνια για το παρελθόν, σα να ξαναζούσε τις στιγμές. Πολύτιμος συνεργάτης και φίλος του Πουλικάκου εδώ και δεκαετίες, ο Πολύτιμος κλείνει φέτος 49 χρόνια on the road και μαζί με τον Θείο Νώντα, που κλείνει 47, είπαν να το γιορτάσουν, αγνοώντας το μη στρογγυλό των αριθμών, με εκλεκτούς καλεσμένους σε ένα διήμερο πάρτι στο Gagarin. Το ονόμασαν «Παραμύθι χωρίς όνομα».
...
«Ό,τι θυμάμαι, θα στο πω.
...
Τα πρώτα μου ακούσματα ήρθαν απ’ την κλασική μουσική. Ο πατέρας μου στον ελεύθερό του χρόνο έπαιζε βιολί και η μητέρα μου πιάνο. Κάθε Κυριακή, όπως άλλοι πάνε τα παιδιά τους να κοινωνήσουν, εμάς με την αδερφή μου μας βάζανε να ακούμε μουσική. Θέλαμε να βγούμε έξω να παίξουμε βέβαια, αλλά τελικά καλό μας έκανε. Άρχισα μαθήματα πιάνου. Κυρίως άκουγα τζαζ, από ένα σταθμό που λεγόταν «Ρυθμική Λέσχη» αν δεν κάνω λάθος, αλλά και μέσω φίλων που έφερναν δίσκους από την Αμερική. Υπήρχε τότε το τζαζ κλαμπ της Ελληνοαμερικανικής Ενώσεως, όπου γνώρισα τον Βαγγέλη Παπαθανασίου. Θυμάμαι και τον Πλέσσα να παίζει εκεί.
MGC, 1967
Στην «Κουκουβάγια» ήρθαν και μας βρήκαν οι πρώτοι MGC, οι οποίοι έπαιζαν τότε στις «Εννέα Μούσες». Ο ντράμερ τους, που ήταν ο Άλκης Παναγιωτίδης ο ηθοποιός, τσακώθηκε με τον πιανίστα και φύγανε. Οπότε ήρθαν οι υπόλοιποι στην «Κουκουβάγια», για να καλύψουν το κενό τους. Εμείς παίρναμε καλούτσικα λεφτά τότε, αλλά μας πίεσαν, δεχτήκαμε και πήγαμε όλοι μαζί στις «Εννέα Μούσες», όπου έγινε κυριολεκτικά ο χαμός. Παίζαμε διασκευές Stones, Dylan, Cream, Hendrix, τέτοια. Δεν τραγουδούσαμε καθόλου ελληνικά ή ιταλικά, όπως άλλοι, γι’ αυτό και τα βιβλία μας γράφουν ως το πρώτο αμιγώς ροκ συγκρότημα στην Ελλάδα.
Το ’67 παίξαμε support στους Stones. Θυμάμαι πως μου είχε δώσει πάσο ο Νίκος Μαστοράκης να βρίσκομαι στο πλάι της σκηνής και έβλεπα τον Brian Jones από τα τρία μέτρα. Γιατί διακόπηκε η συναυλία; Πήγε ένας από τους ανθρώπους του γκρουπ να μοιράσει λουλούδια στον κόσμο, η αστυνομία το θεώρησε ύποπτο και άρχισε να επιτίθεται. Δύο λεπτά μετά, ο Jagger βλέπει τον άνθρωπό του με σπασμένα γυαλιά, θυμώνει, λέει το “Satisfaction” και φεύγει. Ήταν περίπου στα μισά του live. Νιώσαμε λοιπόν πως κάτι δεν πήγαινε καλά. Ε, και σε λίγες μέρες ήρθε η Χούντα…
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Το καλοκαίρι του ’69 πια, ο Πουλικάκος φεύγει Λονδίνο κι εγώ Παρίσι. Εκεί, έκανα φωνητικά στο «666» των Aphrodite’s Child. Ύστερα πήγα Αμερική, πήγα Ασία, πέρασα από Αγγλία τέσσερεις μήνες όπου δούλεψα ως μουσικός σε διαφημιστικά και γύρισα πίσω το ’74, μετά τη Χούντα.
Στην Αθήνα πια, μια μέρα καθόμουν στο Βυζάντιο στο Κολωνάκι και με πλησιάζουν οι Socrates, oπότε ξεκίνησα συνεργασία μ’ αυτούς. Ύστερα έπαιξα στο «Μεταφοραί Εκδρομαί ο Μήτσος», στο «Φλου» και στο «Ζωντανοί στο Κύτταρο» που ήταν ο πρώτος ελληνικός ροκ live δίσκος. Σημαδιακοί δίσκοι – και κατά τύχη παίζω και στους τρεις! Θυμάμαι στις ηχογραφήσεις υπήρχε πίεση χρόνου. Το ίδιο λένε και οι Stones για τα πρώτα τους singles. Στους παλιούς τους δίσκους έχουνε και φάλτσα, αλλά έχει μια γοητεία αυτό, έναν αυθορμητισμό. Γιατί μετά που ηχογραφούσανε ένα τραγούδι το μήνα, πάει, το χάσανε. Θυμάμαι πως αν έκανα ένα λάθος στο πιάνο, έπρεπε όλη η μπάντα να ξεκινήσει απ' την αρχή. Σήμερα, το λάθος διορθώνεται ψηφιακά.
Με το Σιδηρόπουλο ήμασταν φίλοι. Πήγαινα συχνά σπίτι του, παρακολούθησα το δράμα που είχε με την καταραμένη αυτή ουσία. Ήταν αγνό παιδί… Και ήταν ολοκληρωμένος τραγουδοποιός. Έγραφε τα κομμάτια, έπαιζε και τραγουδούσε. Mετά το θάνατό του, μυθοποιήθηκε κάπως. Ξέρεις πότε το κατάλαβα; Άκουσα την κόρη μου να τραγουδάει ένα τραγούδι του. Όταν της είπα ότι παίζω κι εγώ σ’ αυτό το κομμάτι, έπαθε πλάκα, το ίδιο και οι συμμαθήτριές της. Τότε κατάλαβα πως ο Σιδηρόπουλος είχε γίνει μύθος. Σε αυτό συντέλεσε η ομορφιά του και το γεγονός ότι έφυγε νέος και μάλιστα από ηρωίνη. Αλλά, εντάξει, έκανε σπουδαία δουλειά.
Στο «Crazy love στου Ζωγράφου», βραχήκαμε. Είχε αναβληθεί δύο φορές λόγω βροχής, θυμάμαι. Αλλά τελικά ωραία ήταν, ήρθαν πολλοί μουσικοί, ήρθαν όλοι οι φίλοι μας. Εντάξει, κάποιοι λένε «το ελληνικό Woodstock»… Τι σχέση έχει τώρα μισό εκατομμύριο κόσμου με αυτό που κάναμε εμείς; Ο χρόνος κάποια πράγματα τα μεγεθύνει.
Till the end of the day - Crazy Love στου Ζωγράφου
Με ρωτάνε πώς είναι να παίζω ροκ στα 81 μου. Εντάξει, δεν το περίμενα κι εγώ. Αλλά μου αρέσει το live. Τη βρίσκω… Πολλοί μου λένε ότι μοιάζω νεώτερος και τους απαντάω πως το ροκ με κράτησε έτσι ζωντανό. Έχει αυτή την ενέργεια, το νεύρο. Το θέμα είναι να καταφέρεις να επιβιώσεις. Από τις αφραγκίες, από τις ουσίες, απ’ όλα.
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Ακούω ρεμπέτικα, τζαζ και ροκ, αλλά παλιά ροκ, γιατί στους καινούριους δίσκους από τα δέκα κομμάτια αξίζουν τα δύο. Ενώ παλιά, έβγαινε ένας δίσκος των Stones και λέγαμε «το τέταρτο κομμάτι απ’ τη δεύτερη πλευρά δε μ’ αρέσει», συνέβαινε το ανάποδο δηλαδή. Γενικώς σήμερα έχει κορεστεί το ροκ. Το μπλουζ, αντίθετα, αντέχει. Οι καλοί μουσικοί της τζαζ και της ροκ λένε πως δεν ξέρεις τίποτα, αν δεν παίξεις πρώτα μπλουζ.
Ένα δωδεκαμετράκι ποτ πουρί (Blues Medley) - Crazy Love στου Ζωγράφου
Δήμης Παπαχρήστου (g), Νίκος Πολίτης (g), Δημήτρης Πουλικάκος (g), Δημήτρης Πολύτιμος (keyb.), Λάκης Διακογιάννης (as),
Μάκης Παπαθεοδώρου (ts), Νίκος Πολίτης (harmonica), Άγγελος Μαστοράκης (harmonica)
Το πιο όμορφο πράγμα που έχω δει στη ζωή μου είναι η απίστευτη λάμψη μιας Πακιστανής όταν έμπαινα σε ένα ξενοδοχείο στο Καράτσι, τότε που είχα πάει στην Ασία. Την είδα το ‘72 αλλά τη θυμάμαι ακόμα. Είχε απίστευτη ομορφιά και μια βούλα στο μέτωπο.»
Εν κατακλείδι - Παύλος Σιδηρόπουλος & Σπυριδούλα
Στις 24/01, μαζί με το Δημήτρη Πουλικάκο και το Δημήτρη Πολύτιμο, στο Gagarin θα βρίσκονται ως special guests οι Magic De Spell, Mode Plagal, Κάτω από το Δέντρο και Γιάννης Αγγελάκας, ενώ στις 25/01 οι Απροσάρμοστοι, Last Drive, Σπυριδούλα και Άσσοι του Καράτε.
Costas
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Revelatory Archive of a Giant of Jazz - Library of Congress Acquires Max Roach’s Papers (ΝΥΤ)
Revelatory Archive of a Giant of Jazz - Library of Congress Acquires Max Roach’s Papers (ΝΥΤ)