Δαι μουσικές (daeman's tunes)
- Thread starter daeman
- Start date
...
Django Unchained soundtrack (edit: no dialogue version)
0:00 Winged - James Russo (Dialogue) 0:08 Django - Rocky Roberts & Luis Bacalov 3:00 The Braying Mule - Ennio Morricone
5:33 In That Case Django, After You... - Christoph Waltz & Jamie Foxx (Dialogue) 6:14 His Name Was King - Luis Bacalov & Edda Dell'Orso 8:12 Freedom - Anthony Hamilton & Elayna Boynton 12:09 Five-Thousand-Dollar Nigga's and Gummy Mouth Bitches - Don Johnson & Christoph Waltz (Dialogue) 13:05 La Corsa (2nd Version) - Luis Bacalov 15:23 Sneaky Schultz and the Demise of Sharp - Don Stroud (Dialogue) 16:00 I Got a Name - Jim Croce 19:14 I Giorni Dell'ira (Days of Anger) - Riz Ortolani
22:19 100 Black Coffins - Rick Ross 26:02 Nicaragua - Jerry Goldsmith featuring Pat Metheny 29:31 Hildi's Hot Box - Samuel L. Jackson & Leonardo DiCaprio (Dialogue) 30:48 Sister Sara's Theme - Ennio Morricone 32:14 Ancora Qui - Ennio Morricone & Elisa 37:22 Unchained - James Brown & 2Pac (Jamie Foxx, Christoph Waltz & James Remar Dialogue) 40:14 Who Did That to You? - John Legend 44:02 Too Old to Die Young - Brother Dege 47:45 Stephen the Poker Player - Samuel L. Jackson (Dialogue)
48:49 Un Monumento - Ennio Morricone 51:20 Six Shots Two Guns - Samuel L. Jackson & Jamie Foxx (Dialogue)
51:26 Trinity (Titoli) - Annibale E I Cantori Moderni 54:30 Ode to Django (The D Is Silent
) - RZA
Django Unchained soundtrack (edit: no dialogue version)
0:00 Winged - James Russo (Dialogue) 0:08 Django - Rocky Roberts & Luis Bacalov 3:00 The Braying Mule - Ennio Morricone
5:33 In That Case Django, After You... - Christoph Waltz & Jamie Foxx (Dialogue) 6:14 His Name Was King - Luis Bacalov & Edda Dell'Orso 8:12 Freedom - Anthony Hamilton & Elayna Boynton 12:09 Five-Thousand-Dollar Nigga's and Gummy Mouth Bitches - Don Johnson & Christoph Waltz (Dialogue) 13:05 La Corsa (2nd Version) - Luis Bacalov 15:23 Sneaky Schultz and the Demise of Sharp - Don Stroud (Dialogue) 16:00 I Got a Name - Jim Croce 19:14 I Giorni Dell'ira (Days of Anger) - Riz Ortolani
22:19 100 Black Coffins - Rick Ross 26:02 Nicaragua - Jerry Goldsmith featuring Pat Metheny 29:31 Hildi's Hot Box - Samuel L. Jackson & Leonardo DiCaprio (Dialogue) 30:48 Sister Sara's Theme - Ennio Morricone 32:14 Ancora Qui - Ennio Morricone & Elisa 37:22 Unchained - James Brown & 2Pac (Jamie Foxx, Christoph Waltz & James Remar Dialogue) 40:14 Who Did That to You? - John Legend 44:02 Too Old to Die Young - Brother Dege 47:45 Stephen the Poker Player - Samuel L. Jackson (Dialogue)
48:49 Un Monumento - Ennio Morricone 51:20 Six Shots Two Guns - Samuel L. Jackson & Jamie Foxx (Dialogue)
51:26 Trinity (Titoli) - Annibale E I Cantori Moderni 54:30 Ode to Django (The D Is Silent
) - RZA
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bernardina
Moderator
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Cajun Moon / Same Old Blues - J.J. Cale, the Troubadour
When daylight fade, the night come on
You can hear the silence of this song
Don't trouble your mind, whatever you do
'Cause he'll get me like he got you
Cajun moon, where does your power lie
As you move, across the southern sky
You took my babe way too soon
What have you done, Cajun moon?
It's the same old story, tell me where does it end?
Yes, I heard the news, it's the same old blues again
I'm gonna find me a mountain, I'm gonna hide out
I ain't talking to you and I ain't coming out
Yeah, I heard that rumour, tell me where does it end?
It's the same old blues, same old blues again
Angel
After Midnight
Cajun Moon / Same Old Blues - J.J. Cale, the Troubadour
You can hear the silence of this song
Don't trouble your mind, whatever you do
'Cause he'll get me like he got you
Cajun moon, where does your power lie
As you move, across the southern sky
You took my babe way too soon
What have you done, Cajun moon?
It's the same old story, tell me where does it end?
Yes, I heard the news, it's the same old blues again
I'm gonna find me a mountain, I'm gonna hide out
I ain't talking to you and I ain't coming out
Yeah, I heard that rumour, tell me where does it end?
It's the same old blues, same old blues again
Angel
After Midnight
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Naturally - J.J. Cale
They called him The Breeze
Really
http://www.youtube.com/watch?v=MNjRFpwWGfw&list=PLztCTv6WWngFGM44-lVNxvzBkIjAvcIy8
Okie
Troubadour
The Road to Escondido
To Tulsa And Back: On Tour With J.J. Cale - Jörg Bundschuh
[videο=youtube;f-9x6dRPzgM]http://www.youtube.com/watch?v=f-9x6dRPzgM[/video]
http://v.youku.com/v_show/id_XNTEyMTM5NjE2.html (imdb)
Naturally - J.J. Cale
Really
Okie
Troubadour
The Road to Escondido
To Tulsa And Back: On Tour With J.J. Cale - Jörg Bundschuh
http://v.youku.com/v_show/id_XNTEyMTM5NjE2.html (imdb)
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A bio here, another one there
not a word on that anywhere
Who knew?
Who knew? - J.J. Cale
Who knew
That life would be so complicated
Who knew
That we would be so automated
No time to think
On the brink
Who knew
Who knew
Not me, not you or anyone else
Come to think of it
It's true
We're misinformed and always warned to look out
Who knew
Be ready
To fabricate and navigate your personal fate
You've got to articulate, tolerate, then circulate
Rearrange and change your thing
Just to accommodate
Go there
Be back
Turn around
Go back
Hurry up then wait
Don't be late
Who knew
I've got yours and you've got mine
Hurry up there ain't no time
Accelerate
Sometime this year
Too much of this and not enough of that
Dislocate is where we're at
Sign of the times is here
Who knew
Oh my
Just a sigh of relief
There's too much grief
In this life
Too much trife
You've got to compete or turn a new leaf or die
The reason why
When you go around
Uptown
You can be looking down
Early rise
Be wise
If you're joking or want to recognize
Sympathize or compromise with you
Blank stares
Everywhere
Talking like a man who cares
Who knew
(Scat)
Too much of this and not enough of that
Dislocate is where we're at
Sign of the times is here
Who knew
Who knew
Our life would be so complicated
That we would be so automated
No time to think
Who knew?
...
Κλείνω το κεφάλαιο του Josh Weldon Cale με τρία αποχαιρετιστήριά του, δυο από τον τελευταίο του δίσκο Roll On του 2009 κι ένα από το Travel-Log με το οποίο κλείνει το εξαιρετικό ντοκιμαντέρ To Tulsa And Back. Καλοστρατιά, δάσκαλε.
Leaving in the morning
...
If you know someone that's on their own
And needs a place to hide
They can have the key to my door
It's all I got to my name
I'm leaving in the morning
And I won't be back again
Bring down the curtain
Bring down the curtain
It's all the show tonight
It's dark outside
Soon be light
Enough is enough
Can't do it no more
Bring down the curtain
Close the door
Sometime you do
Sometime you don't
Sometime you will
And sometime you won't
Sometimes it's better to leave it alone
Slow it down easy and let it be gone, gone, gone
Bring down the curtain
Weep and movin' on
Say what you want, it's something else again
No matter what you say it will come to an end
Enough is enough
Can't do it no more
Bring down the curtain
Bring down the curtain
Bring down the curtain
Close the door
End of the line
Trains don't run forever
Fire goes out sometime
Gotta tell you, baby
We've come to the end of the line
Pages of yesterday
Fill this book of mine
Gotta tell you, baby
It is the end of the line
I can't remember those good old days
They are from a different time
I gotta tell you, baby
We've come to the end of the line
Κλείνω το κεφάλαιο του Josh Weldon Cale με τρία αποχαιρετιστήριά του, δυο από τον τελευταίο του δίσκο Roll On του 2009 κι ένα από το Travel-Log με το οποίο κλείνει το εξαιρετικό ντοκιμαντέρ To Tulsa And Back. Καλοστρατιά, δάσκαλε.
Leaving in the morning
If you know someone that's on their own
And needs a place to hide
They can have the key to my door
It's all I got to my name
I'm leaving in the morning
And I won't be back again
Bring down the curtain
Bring down the curtain
It's all the show tonight
It's dark outside
Soon be light
Enough is enough
Can't do it no more
Bring down the curtain
Close the door
Sometime you do
Sometime you don't
Sometime you will
And sometime you won't
Sometimes it's better to leave it alone
Slow it down easy and let it be gone, gone, gone
Bring down the curtain
Weep and movin' on
Say what you want, it's something else again
No matter what you say it will come to an end
Enough is enough
Can't do it no more
Bring down the curtain
Bring down the curtain
Bring down the curtain
Close the door
End of the line
Trains don't run forever
Fire goes out sometime
Gotta tell you, baby
We've come to the end of the line
Pages of yesterday
Fill this book of mine
Gotta tell you, baby
It is the end of the line
I can't remember those good old days
They are from a different time
I gotta tell you, baby
We've come to the end of the line
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A Whiter Shade Of Pale - Joe Cocker (Berlin, 1980)
Ο λύκος κι αν εγέρασε
κι άλλαξε το μαλλί του
δεν ξέρω αν γνώμη άλλαξε
μόνο για τη φωνή του
πως κι αν αυτή εγέρασε
το λέει η ψυχή του
Hymn For My Soul (Andy Fairweather Low, Basel, 2007)
A Whiter Shade Of Pale - Joe Cocker (Berlin, 1980)
Ο λύκος κι αν εγέρασε
κι άλλαξε το μαλλί του
δεν ξέρω αν γνώμη άλλαξε
μόνο για τη φωνή του
πως κι αν αυτή εγέρασε
το λέει η ψυχή του
Hymn For My Soul (Andy Fairweather Low, Basel, 2007)
bernardina
Moderator
Piers Faccini The Beggar & the Thief
...
In 1995, American pop star David Byrne introduced the world to the treasures of Afro-Peruvian music with a compilation CD entitled The Soul of Black Peru. The collection helped give international recognition to Afro-Peruvian icons Susana Baca, Eva Ayllón, Chabuca Granda, Nicómedes Santa Cruz and others, while sparking a renewed interest back in Peru for a musical scene that had often been overlooked by the broader society.
The founders of Novalima, Ramon Perez-Prieto, Grimaldo Del Solar, Rafael Morales, and Carlos Li Carrillo, became friends while in high school in Lima. The children of artists and intellectuals, Ramon, Grimaldo, Rafael and Carlos were well-educated and well traveled, and while they grew up listening to the popular and folk music of Latin America, they also shared a fascination for rock, pop, reggae, salsa, dance and electronic music.
Indeed, without modern technology, Novalima might not have developed, as the group came together at a time when the four founders were each living in different parts of the world. From their homes in London, Barcelona, Hong Kong and Lima, they started emailing song ideas to each other. These long-distance experiments resulted in their 2002 debut album, the self-titled Novalima.
...
The founders of Novalima have since returned to Lima and invited some of their favorite Afro-Peruvian musicians to become permanent members of their band: Juan Medrano Cotito, Mangüe Vasquez, Milagros Guerrero and Marcos Mosquera, as well as Constantino Alvarez, a renowned local drummer & percussionist. The partnership between the original cosmopolitan quartet and members of the Afro-Peruvian community has generated a great deal of attention at home, mostly because the divide between black and white in Peru has made these types of collaborations unfortunately rare. A January 2008 article in the Christian Science Monitor focused on the ways in which Novalima was introducing a new generation to Afro-Peruvian culture, asserting, "By updating traditional black music, Novalima is bridging racial divides inside Peru." While this social impact was not necessarily their intention at the outset, the members of Novalima cherish the uncommon friendships that have developed through playing music with people of different ethnic and economic backgrounds.
On their new album [στδ. 2008], Coba Coba, Novalima expands on the critically-acclaimed formula they developed with their two previous recordings, while taking their inspiring fusion in new and exciting directions. The album's title is derived from an Afro-Peruvian expression used to incite musicians, much like shouting "Go for it!" or "Take it!" to a musician in the midst of a great solo.
On Coba Coba, Novalima delves further into the African roots of Afro-Peruvian music, bringing in influences from its musical cousins reggae, dub, salsa, hip-hop, afrobeat and Cuban son. They take a more organic approach this time around, and the songs more accurately reflect the live sound of the band, thanks to time spent working together as an actual band rather than a studio project. British producer Toni Economides, a regular collaborator of Nitin Sawhney, Da Lata, Bugz in the Attic and 4Hero among others, adds his special touch to the album's mixes. The result is a modern approach to Afro-Peruvian music that has made the genre accessible to a younger and wider public.
http://www.cumbancha.com/novalima-biography-eng
Africa Landó - Novalima
While their sound is futuristic and cutting-edge, the roots of Novalima's music stretch back hundreds of years to the times of slavery and Spanish colonial rule. In a far-too-familiar tale, African slaves were brought to Peru as early as the 1500s until the middle of the 19th Century, establishing an outpost of African culture in South America. Over the years, the soul and rhythms of Africa blended with the melodies and instruments of Europe and the Andes. The result is rich musical repertoire that has existed for generations on the periphery of Peruvian popular culture.
...
The achingly restrained "Africa Landó" features powerful lyrics derived from the poem "Ritmos Negros del Perú" by the influential Peruvian poet Nicomedes Santa Cruz. Lucia Vivanco provides the poignant cello riffs.
RITMOS NEGROS DEL PERÚ - Nicomedes Santa Cruz
Ritmos de la esclavitud
Contra amarguras y penas.
Al compás de las cadenas
Ritmos negros del Perú.
De África llegó mi abuela
vestida con caracoles,
la trajeron lo` epañoles
en un barco carabela.
La marcaron con candela,
la carimba fue su cruz.
Y en América del Sur
al golpe de sus dolores
dieron los negros tambores
ritmos de la esclavitud
Por una moneda sola
la revendieron en Lima
y en la Hacienda “La Molina”
sirvió a la gente española.
Con otros negros de Angola
ganaron por sus faenas
zancudos para sus venas
para dormir duro suelo
y naíta`e consuelo
contra amarguras y penas...
En la plantación de caña
nació el triste socavón,
en el trapiche de ron
el negro cantó la zaña.
El machete y la guadaña
curtió sus manos morenas;
y los indios con sus quenas
y el negro con tamborete
cantaron su triste suerte
al compás de las cadenas.
Murieron los negros viejos
pero entre la caña seca
se escucha su zamacueca
y el panalivio muy lejos.
Y se escuchan los festejos
que cantó en su juventud.
De Cañete a Tombuctú,
De Chancay a Mozambique
llevan sus claros repiques
ritmos negros del Perú.
(Poemas del alma: Poemas de Nicomedes Santa Cruz)
Libertá - Novalima
In 1995, American pop star David Byrne introduced the world to the treasures of Afro-Peruvian music with a compilation CD entitled The Soul of Black Peru. The collection helped give international recognition to Afro-Peruvian icons Susana Baca, Eva Ayllón, Chabuca Granda, Nicómedes Santa Cruz and others, while sparking a renewed interest back in Peru for a musical scene that had often been overlooked by the broader society.
The founders of Novalima, Ramon Perez-Prieto, Grimaldo Del Solar, Rafael Morales, and Carlos Li Carrillo, became friends while in high school in Lima. The children of artists and intellectuals, Ramon, Grimaldo, Rafael and Carlos were well-educated and well traveled, and while they grew up listening to the popular and folk music of Latin America, they also shared a fascination for rock, pop, reggae, salsa, dance and electronic music.
Indeed, without modern technology, Novalima might not have developed, as the group came together at a time when the four founders were each living in different parts of the world. From their homes in London, Barcelona, Hong Kong and Lima, they started emailing song ideas to each other. These long-distance experiments resulted in their 2002 debut album, the self-titled Novalima.
...
The founders of Novalima have since returned to Lima and invited some of their favorite Afro-Peruvian musicians to become permanent members of their band: Juan Medrano Cotito, Mangüe Vasquez, Milagros Guerrero and Marcos Mosquera, as well as Constantino Alvarez, a renowned local drummer & percussionist. The partnership between the original cosmopolitan quartet and members of the Afro-Peruvian community has generated a great deal of attention at home, mostly because the divide between black and white in Peru has made these types of collaborations unfortunately rare. A January 2008 article in the Christian Science Monitor focused on the ways in which Novalima was introducing a new generation to Afro-Peruvian culture, asserting, "By updating traditional black music, Novalima is bridging racial divides inside Peru." While this social impact was not necessarily their intention at the outset, the members of Novalima cherish the uncommon friendships that have developed through playing music with people of different ethnic and economic backgrounds.
On their new album [στδ. 2008], Coba Coba, Novalima expands on the critically-acclaimed formula they developed with their two previous recordings, while taking their inspiring fusion in new and exciting directions. The album's title is derived from an Afro-Peruvian expression used to incite musicians, much like shouting "Go for it!" or "Take it!" to a musician in the midst of a great solo.
On Coba Coba, Novalima delves further into the African roots of Afro-Peruvian music, bringing in influences from its musical cousins reggae, dub, salsa, hip-hop, afrobeat and Cuban son. They take a more organic approach this time around, and the songs more accurately reflect the live sound of the band, thanks to time spent working together as an actual band rather than a studio project. British producer Toni Economides, a regular collaborator of Nitin Sawhney, Da Lata, Bugz in the Attic and 4Hero among others, adds his special touch to the album's mixes. The result is a modern approach to Afro-Peruvian music that has made the genre accessible to a younger and wider public.
http://www.cumbancha.com/novalima-biography-eng
Africa Landó - Novalima
While their sound is futuristic and cutting-edge, the roots of Novalima's music stretch back hundreds of years to the times of slavery and Spanish colonial rule. In a far-too-familiar tale, African slaves were brought to Peru as early as the 1500s until the middle of the 19th Century, establishing an outpost of African culture in South America. Over the years, the soul and rhythms of Africa blended with the melodies and instruments of Europe and the Andes. The result is rich musical repertoire that has existed for generations on the periphery of Peruvian popular culture.
...
The achingly restrained "Africa Landó" features powerful lyrics derived from the poem "Ritmos Negros del Perú" by the influential Peruvian poet Nicomedes Santa Cruz. Lucia Vivanco provides the poignant cello riffs.
RITMOS NEGROS DEL PERÚ - Nicomedes Santa Cruz
Ritmos de la esclavitud
Contra amarguras y penas.
Al compás de las cadenas
Ritmos negros del Perú.
De África llegó mi abuela
vestida con caracoles,
la trajeron lo` epañoles
en un barco carabela.
La marcaron con candela,
la carimba fue su cruz.
Y en América del Sur
al golpe de sus dolores
dieron los negros tambores
ritmos de la esclavitud
Por una moneda sola
la revendieron en Lima
y en la Hacienda “La Molina”
sirvió a la gente española.
Con otros negros de Angola
ganaron por sus faenas
zancudos para sus venas
para dormir duro suelo
y naíta`e consuelo
contra amarguras y penas...
En la plantación de caña
nació el triste socavón,
en el trapiche de ron
el negro cantó la zaña.
El machete y la guadaña
curtió sus manos morenas;
y los indios con sus quenas
y el negro con tamborete
cantaron su triste suerte
al compás de las cadenas.
Murieron los negros viejos
pero entre la caña seca
se escucha su zamacueca
y el panalivio muy lejos.
Y se escuchan los festejos
que cantó en su juventud.
De Cañete a Tombuctú,
De Chancay a Mozambique
llevan sus claros repiques
ritmos negros del Perú.
(Poemas del alma: Poemas de Nicomedes Santa Cruz)
Libertá - Novalima