Δαι μουσικές (daeman's tunes)

daeman

Administrator
Staff member
...
Voyage sans retour - Rachid Zeroual Quartet & Harris Lambrakis


Errichetta Festival V, Teatro Palladium, Rome, 09/01/15

Rachid Zeroual & Harris Lambrakis: Ney / Amlil Abdelkader: Guembri, Percussions
Youness El Khazan: Violon / Mustapha Antari: Percussions
 

daeman

Administrator
Staff member
...
Mean Old Frisco (Slowhand) - Eric Clapton


HOW DID ERIC CLAPTON GET HIS NICKNAME, SLOWHAND?

The Yardbirds’ manager, Giorgio Gomelsky, gave Eric Clapton the nickname “Slowhand” in early 1964.

The Yardbirds rhythm guitarist, Chris Dreja, recalled that whenever Eric Clapton broke a guitar string during a concert, Eric would stay on stage and replace it. The English audiences would wait out the delay by doing a “slow handclap”. [The British colloquialism is "to be given the slowhand".]

Clapton told his official biographer, Ray Coleman, in the mid-80s that “My nickname of 'Slowhand' came from Giorgio Gomelsky. He coined it as a good pun. He kept saying I was a fast player, so he put together the slow handclap phrase into 'Slowhand' as a play on words.”

In a June 1999 online chat, Clapton gave a slightly different version of how his nickname came about: “I think it might have been a play on words from the “Clap” part of my name. In England, in sport, if the crowd is getting anxious, we have a slow handclap, which indicates boredom or frustration. But it wasn’t my idea it was someone else’s comment.”

In Clapton - The Autobiography (2007), Eric had this to say, "On my guitar I used light-gauge guitar strings, with a very thin first string, which made it easier to bend the notes, and it was not uncommon during the most frenetic bits of playing for me to break at least one string. During the pause while I was changing my string, the frenzied audience would often break into a slow handclap, inspiring Giorgio to dream up the nickname of 'Slowhand' Clapton."


Mean Old Frisco Blues - Muddy Waters & Johnny Winter



Mean Ol' Frisco Blues - Arthur "Big Boy" Crudup

 

daeman

Administrator
Staff member
...
The Commitments original soundtrack vol. 1 & 2


VOLUME 1
1. "Mustang Sally" 00:00 / 2. "Take Me To The River" 04:00 / 3. "Chain Of Fools" 07:39 / 4. "The Dark End Of The Street" 10:37
5. "Destination Anywhere" 13:13 / 6. "I Can't Stand The Rain" 16:22 / 7. "Try A Little Tenderness" 19:34
8. "Treat Her Right" 24:09 / 9. "Do Right Woman, Do Right Man" 27:48 / 10. "Mr. Pitiful" 31:04 / 11. "I Never Loved A Man" 33:15
12. "In The Midnight Hour" 36:27 / 13. "Bye Bye Baby" 38:52 / 14. "Slip Away" 42:16

VOLUME 2
1. "Hard To Handle" 46:47 / 2. "Grits Ain't Groceries" 49:10 / 3. "I Thank You" 52:53 / 4. "That's The Way Love Is" 56:33
5. "Show Me" 1:00:42 / 6. "Saved" 1:03:36 / 7. "Too Many Fish in the Sea" 1:06:33 / 8. "Fa-Fa-Fa-Fa-Fa (Sad Song)" 1:09:18
9. "Land Of A Thousand Dances" 1:12:11 / 10. "Nowhere To Run" 1:15:24 / 11. "Bring It On Home To Me" 1:19:05
12. "Are You Lonely for Me" 1:22:50 / 13. "(She's) Some Kind of Wonderful" 1:26:46
14. "Too Many Cooks (Spoil the Soup)" 1:30:08 / 15. "Same Old Me" 1:33:34 / 16. "Ain't Nothing You Can Do" [Long Version] 1:38:40
 

daeman

Administrator
Staff member
...
Όλος ο κόσμος - Γιάννης Παξιμαδάκης & Νίκη Ξυλούρη

Γιάννης Παξιμαδάκης: λαούτο | Νίκη Ξυλούρη: φωνή, στάμνα | Γιώργης Γιανναδάκης: λύρα | Σωτήρης Αλεξάκης: κιθάρα |
Στέφανος Κουρουπάκης: κοντραμπάσο


Όλος ο κόσμος να 'ναι επά και μια ψυχή να λείπει
άδειος μου φαίνεται ο ντουνιάς και σκοτεινό το σπίτι

Αλάργο είσαι και μακριά, και ποταμοί και δάση
κι αν στείλω και χαιρετισμό, δεν έχει πώς περάσει
 

daeman

Administrator
Staff member
...
Jovano Jovanke - Βόρειοι Εταίροι


Σαν τη λύκαινα, το βράδυ που 'ψαχνε το ταίρι της
Σαν τη μουσική, που δεν ξέρει γιατί
κάτι σαν όνειρο την άγγιξε

Βασίλης Κομματάς: κλαρίνο | Θάνος Σταυρίδης: ακορντεόν | Έλσα Μουρατίδου: φωνητικά | Νίκος Ψοφογιώργος: ντραμς
Δημήτρης Σκατζής: απαγγελία | Peyo Peev: gadulka | Peter Milanov: electric guitar
 

nickel

Administrator
Staff member
...
The Commitments original soundtrack vol. 1 & 2

Ένιωσα υπέροχα που ξαναείδα την ταινία. Ο Andrew Strong, που ήταν 16 όταν έπαιξε τον τραγουδιστή στην ταινία, είναι ένας αρκετά πετυχημένος τραγουδιστής. Έβαλα να ακούσω τα άλμπουμ του στο Spotify.

Για τη γλωσσική νότα μας, το πανό με την ανορθογραφία που τους έφτιαξαν για το πρώτο τους gig.





HeroineKills.jpg
 

daeman

Administrator
Staff member
...
Σ' αυτή την ταινία ο Άλαν Πάρκερ ζωγράφισε πάνω στο σενάριο του Ρόντι Ντόιλ, το εικονογράφησε και το έδεσε εξαιρετικά, και από το κέφι της φαίνεται πως το χάρηκε κι ο ίδιος. Από τις λίγες ταινίες που προτιμώ από το βιβλίο όπου βασίστηκαν. Και μου άρεσε πολύ η φωνή και η ερμηνεία των τραγουδιών από τον Άντριου Στρονγκ που κοκέριζε χαρακτηριστικά, όλο βραχνάδα και ψυχή. Για να μην πω για τις βοκαλίστες και τα κάλλη τους, ιδίως τη Μαρία Ντόιλ.

...
Για τη γλωσσική νότα μας, το πανό με την ανορθογραφία που τους έφτιαξαν για το πρώτο τους gig.
Κι άλλη μια ανορθογραφία αχρωματοψία από τον Τζίμι Ράμπιτ στην ταινία :-):

...
Όσο για το ενδεχόμενο να είσαι μαύρος, αυτό εδώ μου θύμισες ;):
...

Say it once and say it loud, I'm black and I'm proud. Well, I am, in late summer.
 

daeman

Administrator
Staff member
...
How awesome is this shop? The Guitar Store, 62 Commercial Road, Southampton


Η άπαιχτη λεπτομέρεια: τα κουμπιά δεν σταματάνε στο 10· πάνε μέχρι το 11. Pump it up, Fender Champ. :up:

by Louisa Kiwana on May 2, 2012

I very briefly recall going past this shop a while back, and in my attempt to confirm what I was seeing in a moving car, my neck almost did an exorcist style 360 spin. However as with most interesting things you see in passing, I didn’t take a picture or write a note to myself to check it out, and thus forgot all about it.

Several months later I saw the shop again whilst browsing on
Tumblr, and I figured, well if this isn’t a sign for a great blog post then I don’t know what is. So I grabbed the picture, and decided to give the people behind this bodacious building a call *bodacious should be pronounced in American surfer dude accent*.

I spoke to a very cool guy who sent me even more pictures of their other shops, which are just as *accent*…bodacious!

[Me]
As you know…completely in awe of your shop design. How long have you had it like this?

[Cool guy over the phone] We’ve had it this way since 2008, and have also developed our other two stores with a similar style, one for drums and the other for acoustics

[Me] How did you come up with this idea, what was the process?

[Cool guy over the phone] Well it was the owner of the business; but it started from us sitting in a car outside of the shop one day when the shutters were down, and randomly thinking “hey, the shop looks like an amplifier” … and really from there we got a team together, which consisted of a local graffiti artist, builders and designers; and here it is!

As I mentioned, the cool guy over the phone who I now know is called Ed kindly emailed me some pictures, which are even better than the one I found on Tumblr, so I hope you enjoy.


And then they marshalled their forces.
 

daeman

Administrator
Staff member
...
Rocket 88 - Jimmy Cotton


Πριν 35 χρόνια το 'χα λιώσει, μα ακόμα αθάνατος ο δίσκος, βινύλιο βαρύ. Τα μπλουζ λιώνουν μα δεν παλιώνουν.
 

daeman

Administrator
Staff member
...
Live is Life - Emigrantski Raggamuffin Kollektiv RotFront


There's no turning back, the night has just begun
Let's get serious about having fun
Emigrantski Raggamuffin from Berlinstan
Always number one

Und sind wir auf Tour
heißt das bei uns Sauftour
später muss die Crowd zur
Reha erstmal auf Kur
wir reiten ein in dein Heimatland
und feiern als seien wir geisteskrank
um die Welt in einer Nacht
wie der Weihnachtsmann
weil uns keiner halten kann


Drink a bottle of vodka, eat a pound of garlic - This is the taste of Emigrantski Republik...
 

daeman

Administrator
Staff member
...
Αντιγράφω από το FB μια χτεσινή ανάρτηση που πολύ μου άρεσε, συγκυριακά κι ευκαιριακά εκλογική αλλά όχι πολιτική, μαζί με το κομμάτι την κομματάρα που συνόδευε:

"Γλυκά πονούσε το μαχαίρι, έσταζε μέλι η μαχαιριά".

Θανατηφόρο μπλουζ για πονεμένες ψυχές, απομεινάρι της πολύ ωραίας χτεσινής βραδιάς. Χορταστικό στα δεκατρία λεπτά του (ήτοι, η Παγκόσμια Σταθερά του Ουίσκυ συν ένα λεπτό αβάντσο), ιδανικά ακούγεται τις "μικρές ώρες" της νύχτας. Όμως, εξ όσων τουλάχιστον γνωρίζω, ουδείς έπαθε το παραμικρό ακούγοντας μπλουζ με τον τρίτο καφέ της μέρας.

Εδώ έχουμε κυβέρνηση ευρύτατης συνεργασίας: η κιθάρα του Duke Robillard στο δεξί κανάλι, αυτή του Ronnie Earl στο αριστερό, στο κέντρο, σε ρόλο ΕΔΗΚ-ο-ρυθμιστής, το οργανάκι του Dave Limina κι από πάνω, αναγκαίο καλό, η φωνή του "MIghty" Sam McClain. Μιλάμε για απόλυτη αυτοδυναμία!

~ Γιάννης Στεφανάκος


A soul that's been abused - Ronnie Earl & Duke Robillard


Mighty Sam McClain (voc), Ronnie Earl, Duke Robillard (g), Dave Limina (org), Mark Teixeira (d), Jesse Williams (b), Matt McCabe (p). The Duke Meets The Earl, Dixiefrog, 2005.
 

daeman

Administrator
Staff member
...
Greek Cooking (1967) - Phil Woods & Iordanis Tsomidis


Phil Woods - alto saxophone | William Costa - accordion, marimba | George Mgrdichian - oud
Stuart Scharf - guitar | Chet Amsterdam - electric bass | Bill LaVorgna - drums
Souren Baronian - drums, cymbals | Seymour Salzberg - percussion | Iordanis Tsomidis - bouzouki
John Yalenezian - dumbeg | Norman Gold - arranger


Nica

 

daeman

Administrator
Staff member
...
The Hot Spot (1990) - John Lee Hooker & Miles Davis (et al.)


1. Coming To Town 3:06 / 2. Empty Bank 2:19 / 3. Harry's Philosophy 2:46 / 4. Dolly's Arrival 1:17
5. Harry And Dolly 2:49 / 6. Sawmill 3:03 / 7. Bank Robbery 4:31 / 8. Moanin' 3:20 /9. Gloria's Story 3:24
10. Harry Sets Up Sutton 1:41 / 11. Murder 4:08 / 12. Blackmail 2:09 / 13. End Credits 5:19

John Lee Hooker: guitar (tracks: 1, 3, 5 to 8, 10 to 13), vocals (tracks: 1, 3, 5, 6, 8, 10, 11)
Miles Davis: trumpet (tracks: 1, 2, 5 to 7, 9 to 13)
Taj Mahal: acoustic guitar (tracks: 4, 5, 10, 12, 13), guitar and vocals (tracks: 2, 7)
Roy Rogers: slide guitar (tracks: 1, 2, 4 to 7, 10 to 13)
Bradford Ellis: keyboards (tracks: 9, 11)
Tim Drummond: bass (tracks: 1, 2, 4 to 7, 10 to 13)
Earl Palmer: drums (tracks: 1, 2, 4, 7, 12, 13)
Producer, Written-By: Jack Nitzsche
Executive Producer: Dennis Hopper


A return look and listen to this historical and breathtaking collaboration between two of the great figures of modern music should naturally be prefaced by a few key facts. Although this album presents itself as the soundtrack to the film The Hot Spot, like many such releases it bares little relation to the music that was actually used in the film -- not that much of this music was actually used. All one really needs to know about the film itself, other than the fact that it was directed by
Dennis Hopper, is that it is awful, even by bad film standards. That it was the impetus for this marvelous music to be made is something listeners should be thankful for, particularly fans of either Miles Davis or John Lee Hooker.

Anyone who grew up with the former artist during his electric transfusions of the '60s and '70s probably wondered why he wasn't playing with John Lee Hooker
the whole time, since they both seemed headed in the same direction. In fact, one wonders why it took this crummy film and the personal appeal of its director to bring these two musical giants together. That they didn't seek to do something like this on their own can be looked at as a character flaw, one that can only be forgiven after listening to how wonderfully they interact here. An important aspect of the magic is their individual genius in the art of playing blues music in such utterly personal ways. There is no mistaking the sound of either Hooker or Davis for anyone else, with layer upon layer of detail backing that up -- the actual sound of their instruments is distinctive, their choices of notes and timing completely unusual and impossible to imitate, and they both have a knack for casually making even the most basic sort of band track sound as if it is a style of music that has never been played before. No matter how many times one may have heard a bar band break into what they think is a Hooker boogie, a brief recovery period will still be required after first exposure to the tracks here. Often during his recording career, Hooker was able to get a particularly scintillating rhythm section sound going with whatever pros had been assembled for the occasion. This is one of these sessions, but it indeed makes it seem like a royal visit to have Davis blowing over the top of these grooves.

There are other dignitaries as well. Blues guitarist
Roy Rogers adds some tasteful slide guitar, and it could be said that it presents another melodic direction for the interaction. But when one has a choice to hear Hooker or Davis instead, most listeners will simply wish Rogers had ridden off into the sunset on his faithful horse instead of coming to this session. Taj Mahal, on the other hand, adds nice textures with his dobro, an instrument that is wonderfully versatile yet so often overlooked in anything other than bluegrass music or straight-ahead country blues. The latter genre, unfortunately, has too much of a sway over this performer's choice of picking patterns. He sounds like what he is: a revivalist who learned how to play blues in college. The rhythm section kicks the whole time, while composer and arranger Jack Nitzsche makes valuable contributions of his own. This includes a minor-key groove -- completely unusual for Hooker, who perhaps recorded in a minor key less than a half-dozen times in his entire career. The dabs of typical film score-type music seem like nothing special until there is an entrance by Davis. These sections of him extemporizing over such routine music bring to mind one of the Ralph J. Gleason profiles of Davis, which described the artist hanging out in his music room playing along with various new releases and painfully trying to reharmonize several selections from the score of Dr. Doolittle he was thinking about recording. The image is that of normal music being twisted into something different by a master at such trickery; most of The Hot Spot soundtrack, on the other hand, presents this great jazz soloist playing over blues grooves as pure as only Hooker could make happen, an interesting contrast to some of the weaker, late-period Davis, where his bands are simply straining to be funky in an old-time bluesy way.

To say this is the best recording Davis made in his final period might be misunderstood as damning with faint praise. A more solid compliment would be to contrast it with other great moments from the trumpeter's career, such as
Bitches Brew or Kind of Blue, and the best parts of this soundtrack contain music that is every bit as interesting and profound. As for a Hooker album, there might be others that have better blues songs on them, but this is just about the only recording the bluesman ever did with a really great jazz soloist on it.

~ Eugene Chadbourne, allmusic
 

daeman

Administrator
Staff member
...
Ένα ξεχασμένο ελληνικό συγκρότημα των 80s σε διαφήμιση της Gucci
Μια ελληνική διασκευή στο ‘She’s Lost Control’ των Joy Division γίνεται ο ήχος για τη νέα καμπάνια της Gucci.

Director: Glen Luchford
Music: "She’s Lost Control" performed by Alive She Died


Δεν ξέρω καν πώς οι Alive She Died βρέθηκαν εν έτη [sic] 2015 να ακούγονται σε διαφήμιση της Gucci. Το έμαθα σήμερα το πρωί από το μπλογκ Sound Injections.
...
Στο διαδίκτυο υπάρχουν ελάχιστες πληροφορίες. Σχεδόν τίποτα. Σίγουρα όμως θα ήταν γνωστοί την εποχή που έδρασαν. Από τα λίγα που βρίσκεις μαθαίνεις ότι σχηματίστηκαν το 1984 στην Αθήνα. Έπαιζαν new wave ηλεκτρονική μουσική. Η πρώτη τους συναυλία έγινε στον Πήγασο την 1 Μαρτίου το 1985 και κυκλοφόρησαν μόνο μια κασέτα από χέρι σε χέρι που είχε τίτλο Viva Voce. Καλοκαίρι έμαθα για την ύπαρξη τους, καλοκαίρι διαλύθηκαν το 1987. Μετά διάφορα μέλη τους σχημάτισαν τους Trespass. Ο ήχος τους ήταν πιο ποπ και ηλεκτρονικός και πιο χορευτικός αν και δεν είχαν πετάξει απόλυτα από πάνω τους αυτήν την σκοτεινή μελαγχολία της πρώτης δουλειάς τους. Κυκλοφόρησαν ένα άλμπουμ το ‘Strange Times’, το 1988.

Γράφει στο discogs ότι ήταν η δεύτερη μπάντα από την Ελλάδα που εμφανίστηκε στο MTV με το βίντεο για το ομώνυμο κομμάτι του δίσκου, το 1990 - η πρώτη ήταν οι Λευκή Συμφωνία. Ψάχνω να το βρω στο youtube αλλά δεν υπάρχει. Υπάρχει όμως άπειρο υλικό από αυτές τις δύο μπάντες για να ακούσεις και να τις γνωρίσεις.
Υπάρχει και μια κακή κόπια αυτής της σπάνιας κασέτας τους: https://www.youtube.com/watch?v=IgT2xRH9AWQ
Υπάρχει και όλο το live τους στον Πήγασο, ένα απίστευτο ηχητικό ντοκουμέντο: https://www.youtube.com/watch?v=PJ3PRr4TjdE

Πίσω από τα συγκροτήματα κρυβόντουσαν η Δάφνη Γερογιάννη, ο Γιώργος Μπουσούνης, ο Ξενοφών Ξένιος, ο Γεώργιος Γκίνης και η Τίνα Γκούτη. Οι περισσότεροι από αυτούς προχώρησαν σε άλλα πράγματα μετά.

Και σήμερα 30 χρόνια μετά η διασκευή τους σαν Alive She Died στο "She Lost Control" γίνεται το κεντρικό θέμα της διαφημιστικής καμπάνιας της Gucci που δείχνει μοντέλα με πολύχρωμα ρούχα να χορεύουν ανέμελα στο άκουσμα του. Ζούμε σε πολύ ενδιαφέροντες και παράξενους καιρούς σίγουρα.


Πηγή: www.lifo.gr



Στον Πήγασο πήγαινα πού και πού εκείνη την εποχή, δε σύχναζα όμως, και δεν είχα ξεπεράσει ακόμα όλα τα κατάλοιπα των παρωπίδων της ροκιάς για να επεκταθώ στην ελεκτρόνικα και τελικά παντού. Οι φάτσες νομίζω πως κάτι μου αχνοθυμίζουν, αλλά τα ονόματα δε μου λένε τίποτα.
 

daeman

Administrator
Staff member
...
Hotel California (a capella) - Vocal Sampling

Concierto hecho en el Teatro del Museo Nacional de Bellas Artes de la Habana el 15 de Marzo de 2012

Vocal Sampling may sound like a full salsa band - but in reality their unique sound is created by a six piece all-male Cuban a-capella group. With minimum technology, they use only their voices, their cupped hands and their own bodies to create a full range of timbres and textures. All the instruments of the Latin Orchestra - percussion, horns, keyboard, bass - are vocally reproduced with astonishing accuracy for their hugely entertaining set of classic boleros, rumbas, and salsa, as well as more contemporary compositions.
...
The six members of Vocal Sampling, all accomplished instrumentalists and arrangers, met at Havana's Instituto Superior de Arte while studying music. Looking for ways to provide music for ill-equipped house parties inspired to unorthodox solutions and soon the unique sound of Vocal Sampling was created.
http://www.kapa-productions.com/vocalsampling/
 

daeman

Administrator
Staff member
...
Tee Say Mallee (Τι Σε Μέλει Εσένανε) - Slim Gaillard, 1946


Bulee "Slim" Gaillard (January 4, 1916 – February 26, 1991), also known as McVouty, was an American jazz singer, songwriter, guitarist, pianist, and vibraphonist, noted for his vocalese singing and word play in a language he called "Vout". (In addition to speaking eight other languages, Gaillard wrote a dictionary for his own constructed language.)

Along with Gaillard's date of birth, his family lineage and place of birth are disputed. One account is that he was born in Santa Clara, Cuba, of a Greek father and an Afro-Cuban mother; another is that he was born in Pensacola, Florida, to a German father and an African-American mother. Adding to the confusion, the 1920 U.S. Census lists a 19-month-old boy named "Beuler Gillard" in Pensacola, but born in Alabama. He grew up in Detroit and moved to New York City in the 1930s.

According to the obituaries in leading newspapers, Gaillard's childhood in Cuba was spent cutting sugar-cane and picking bananas, as well as occasionally going to sea with his father. However, at the age of 12, he accompanied his father on a world voyage and was accidentally left behind on the island of Crete. After working on the island for a while, he made his home in Detroit. In America, Gaillard worked in an abattoir, trained as a mortician and also had been employed at Ford's Motor Works.
...

Τι σε μέλει εσένανε - Μαρίκα Παπαγκίκα, 1927


Τι σε μέλει εσένανε από πού είμαι εγώ
απ’ το Καραντάσι, φως μου, ή απ’ το Κορδελιό

Τι σε μέλει εσένανε κι όλο με ρωτάς
από ποιο χωριό είμαι εγώ αφού δε μ’ αγαπάς

Απ’ τον τόπο που ήρθα εγώ ξεύρουν ν’ αγαπούν
ξεύρουν τον καημό να κρύβουν, ξεύρουν να γλεντούν

Τι σε μέλει εσένανε κι όλο με ρωτάς
αφού δε με λυπάσαι, φως μου, και με τυραγνάς

Απ' τη Σμύρνη έρχομαι να βρω παρηγοριά
να βρω μες στην Αθήνα μας αγάπη κι αγκαλιά

Τι σε μέλει εσένανε κι όλο με ρωτάς
από ποιο χωριό είμαι εγώ αφού δε μ’ αγαπάς
 
Top