Δαι μουσικές (daeman's tunes)

daeman

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Επειδή μεθαύριο είναι του Λαζάρου και αρχίζει η πένθιμη μεγαλοβδομάδα, λέω να κλείσουμε το κεφάλαιο με τα μνημόσυνα με ένα εξαιρετικό μνημουσικό του Στίβεν Στιλς (μια που πιάσαμε τους γουντστοκίδες παραπάνω), το τελευταίο κομμάτι του Manassas, γραμμένο για τρεις πρόωρα χαμένους μπλουζογενείς: τον Άλαν Γουίλσον, τον Τζίμι Χέντριξ και τον Ντουέιν Όλμαν.

Blues Man - Stephen Stills


Άιντε, ζωή σ' ελόγου μας, τώρα π' ανθίζουν τα κλωνιά και βγάζει η γης χορτάρι. Άνοιξη λαμπρή, ανάσταση! :)
 

daeman

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E, και για να μην κάνω μισές δουλειές, η βελόνα στ' αυλάκι να τ' ακούσω με μεράκι να γελάσει το χειλάκι:

Manassas - Stephen Stills


The Raven
1. "Song of Love" – 3:28
2. Medley – 3:34 : "Rock & Roll Crazies" (Stephen Stills, Dallas Taylor) / "Cuban Bluegrass" (Stephen Stills, Joe Lala)
3. "Jet Set (Sigh)" – 4:25
4. "Anyway" – 3:21
5. "Both of Us (Bound to Lose)" (Stephen Stills, Chris Hillman) – 3:00

The Wilderness
1. "Fallen Eagle" – 2:03
2. "Jesus Gave Love Away for Free" – 2:59
3. "Colorado" – 2:50
4. "So Begins the Task" – 3:57
5. "Hide It So Deep" – 2:44
6. "Don't Look at My Shadow" – 2:30

Consider
1. "It Doesn't Matter" (Chris Hillman, Rick Roberts, Stephen Stills) – 2:30
2. "Johnny's Garden" – 2:45
3. "Bound to Fall" (Mike Brewer, Tom Mastin) – 1:53
4. "How Far" – 2:49
5. "Move Around" – 4:15
6. "The Love Gangster" (Stephen Stills, Bill Wyman) – 2:51

Rock & Roll is Here to Stay
1. "What to Do" – 4:44
2. "Right Now" – 2:58
3. "The Treasure (Take One)" – 8:03
4. "Blues Man" – 4:04

A sprawling masterpiece, akin to the Beatles' White Album, the Stones' Exile on Main St., or Wilco's Being There in its makeup, if not its sound. Rock, folk, blues, country, Latin, and bluegrass have all been styles touched on in Stephen Stills' career, and the skilled, energetic musicians he had gathered in Manassas played them all on this album. What could have been a disorganized mess in other hands, though, here all gelled together and formed a cohesive musical statement. The songs are thematically grouped: part one (side one on the original vinyl release) is titled "The Raven," and is a composite of rock and Latin sounds that the group would often perform in full live. "The Wilderness" mainly centers on country and bluegrass (Chris Hillman's and Al Perkins' talents coming to the forefront), with the track "So Begins the Task" later covered by Stills' old flame Judy Collins. Part three, "Consider" is largely folk and folk-rock. "Johnny's Garden," reportedly for the caretaker at Stills' English manor house and not for John Lennon as is often thought, is a particular highlight. Two other notables from the "Consider" section are "It Doesn't Matter" (later redone with different lyrics by the song's uncredited co-writer Rick Roberts on the first Firefall album) and "Move Around," which features some of the first synthesizer used in a rock context. The closing section, titled "Rock & Roll Is Here to Stay," is a rock and blues set with one of the landmarks of Manassas' short life, the epic "The Treasure." A sort of Zen-like meditation on love and "oneness," enlivened by the band's most inspired recorded playing it evolves into a bluesy groove washed in Stills' fierce electric slide playing. The delineation lines of the four themed song groupings aren't cut in stone, though, and one of the strengths of the album is that there is a lot of overlap in styles throughout. [...] Unfortunately, the album has been somewhat overlooked over the years, even though Stills considers it some of the best work he has done. Bill Wyman (who guested on "The Love Gangster") has said he would have quit the Rolling Stones to join Manassas.

~ Rob Caldwell, allmusic
 
Και μια γερή δόση από 2 απ' τους καλύτερους, κι' όποιος αντέξει ....


Ιεροσυλία ;;;; ΟΧΙ βέβαια. Καλό Πάσχα

 

daeman

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Apostrophe' - Frank Zappa with Captain Beefheart, El Paso



Frank Zappa with Captain Beefheart, El Paso, 23-5-1975, The Bongo Fury Tour


01 intro and tune-up improvisations / 02 Apostrophe [5:22] / 03 Stinkfoot [9:38] / 04 I'm Not Satisfied [15:04] / 05 Carolina Hard-Core Ecstasy [17:17] / 06 Velvet Sunrise [26:38] / 07 A Pound For A Brown [31:56] / 08 You're So Fine [47:20] / 09 Those Lonely Lonely Nights [48:47] / 10 Debra Kadabra [51:43] / 11 Montana [56:00] / 12 improvisations [01:03:01] / 13 Advance Romance [01:11:46] / 14 Florentine Pogen [01:24:19]

Frank Zappa: guitar, vocals / Don Van Vliet: harp, vocals, soprano sax, assorted craziness / Denny Walley: slide guitar /
George Duke: keyboards, vocals / Napoleon Murphy Brock: tenor sax, vocals / Bruce Fowler: trombone / Tom Fowler: bass / Terry Bozzio: drums / Jimmy Carl Black: vocals
 

daeman

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Small Change - Tom Waits


Tom Traubert's Blues / 6:40 Step Right Up / 12:20 Jitterbug Boy / 16:06 I Wish I Was in New Orleans / 21:00 Piano Has Been Drinking (Not Me) / 24:39 Invitation to the Blues / 30:05 Pasties and a G-String / 32:36 Bad Liver and a Broken Heart / 37:26 One That Got Away / 41:33 Small Change (got rained on with his own .38) / 46:41 I Can't Wait to Get Off Work
 

daeman

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Catfish Blues - Robert Petway


Very little is known about Robert Petway. [...] His birth date is guessed at 1908, and the date and even the occurrence of his death is unknown. There is only one known picture of Petway, a publicity photo from 1941. He only recorded 16 songs, but he is said to have been an influence on many notable blues and rock musicians, including John Lee Hooker, Muddy Waters, and Jimi Hendrix.



One of Petway's most influential songs is "Catfish Blues", which he recorded in 1941. Amongst many other reworked versions, Muddy Waters used the arrangement and lyrics of "Catfish Blues" for his single "Rollin' Stone", the song from which the rock group The Rolling Stones chose their band name.

Rollin' Stone - Muddy Waters


Well, my mother told my father,
just before I was born,
"I got a boy child comin',
He's gonna be a rollin' stone


Catfish Blues - Canned Heat

 

daeman

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Hooker 'n Heat - John Lee Hooker & Canned Heat
Disc 1

01 00:00 Messin' with the Hook / 02 03:22 The Feelin' Is Gone / 03 07:54 Send Me Your Pillow / 04 12:42 Sittin' Here Thinkin' / 05 16:48 Meet Me in the Bottom / 06 20:20 Alimonia Blues / 07 24:51 Driftin' Blues / 08 29:47 You Talk Too Much /
09 33:02 Burnin' Hell / 10 38:29 Bottle Up and Go

Disc 2

01 00:00 The World Today / 02 07:44 I Got My Eyes on You / 03 12:09 Whiskey and Wimmen / 04 16:42 Just You and Me / 05 24:22 Let's Make It / 06 28:27 Peavine / 07 33:30 Boogie Chillen No. 2 /
Bonus tracks:
08 45:04 It's All Right / 09 50:39 Whiskey And Wimmen (Single Version)

When this two-LP set was initially released in January 1971, Canned Heat was back to its R&B roots, sporting slightly revised personnel. In the spring of the previous year, Larry "The Mole" Taylor (bass) and Harvey Mandel (guitar) simultaneously accepted invitations to join John Mayall's concurrent incarnation of the Bluesbreakers. This marked the return of Henry "Sunflower" Vestine (guitar) and the incorporation of Antonio "Tony" de la Barreda (bass), a highly skilled constituent of Aldolfo de la Parra (drums). Sadly, it would also be the final effort to include co-founder Alan "Blind Owl" Wilson, who passed away in September 1970. Hooker 'n Heat (1971) is a low-key affair split between unaccompanied solo John Lee Hooker (guitar/vocals) tunes, collaborations between Hooker and Wilson (piano/guitar/harmonica), as well as five full-blown confabs between Hooker and Heat. The first platter focuses on Hooker's looser entries that vacillate from the relatively uninspired ramblings of "Send Me Your Pillow" and "Drifter" to the essential and guttural "Feelin' Is Gone" or spirited "Bottle Up and Go." The latter being among those with Wilson on piano. Perhaps the best of the batch is the lengthy seven-minute-plus "World Today," which is languid and poignant talking blues, with Hooker lamenting the concurrent state of affairs around the globe. "I Got My Eyes on You" is an unabashed derivative of Hooker's classic "Dimples," with the title changed for what were most likely legal rather than artistic concerns. That said, the readings of the seminal "Burning Hell" and "Bottle Up and Go" kept their familiar monikers intact. The full-fledged collaborations shine as both parties unleash some of their finest respective work. While Canned Heat get top bill -- probably as it was the group's record company that sprung for Hooker 'n Heat -- make no mistake, as Hooker steers the combo with the same gritty and percussive guitar leads that have become his trademark. The epic "Boogie Chillen No. 2" stretches over 11 and a half minutes and is full of the same swagger as the original, with the support of Canned Heat igniting the verses and simmering on the subsequent instrumental breaks with all killer and no filler.
~ Lindsay Planer, allmusic
 
Ξέρει όμως και ν' ασβεστώνει η Ανάτ μας· Limehouse Blues:


Το ίδιο κομμάτι από τον σπουδαίο δίσκο των Cannonball-Coltrane, του 1959:

 
Μια ηχογράφηση του 1931 του ίδιου κομματιού, σε θαυμάσια ενορχήστρωση του Δουκός Ellington, μας μεταφέρει με το πιο λικνιστικό τέμπο της στη χορευτική ατμόσφαιρα των τότε κλαμπ. Παιγμένη σε γραμμόφωνο εποχής (εξαιρετική ποιότητα!)

 
Η Ανάτ είναι σπουδαία κλαρινετίστρια. Είναι δε πολύ εκφραστική όταν παίζει: κουνιέται, μορφάζει, ηδονίζεται, χορεύει. Εδώ παίζει κλαρίνο στο After you've gone:


Εδώ η πρώτη εκτέλεση του 1918, μαζί με τα λόγια.
 
Αγαθόν το κλείειν με ένα μπλουζ. J Blues, μαζί με τον John Scofield:


Πολύ καληνύχτα σας.
 

daeman

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It's all over now, baby blue - Them



The Story of Them



Don't Look Back

 
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daeman

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Πριν από αυτά, όμως, τα δυο πρώτα κομμάτια από τον δίσκο που αρνείται ο Τζακ Μπλακ να πουλήσει στον γκικ, τον πρώτο του Captain Beefheart & His Magic Band, Safe As Milk.
...

Και ολόκληρο το Safe As Milk. Πού το θυμήθηκα; Από μια γάτα αλανιάρα.


Side One
1. Sure 'Nuff 'n Yes I Do 0:00 / 2. Zip Zag Wanderer 2:15 / 3. Call on Me 4:55 / 4. Dropout Boogie 7:32 / 5. I'm Glad 10:05 /
6. Electricity 13:36

Side Two
7. Yellow Brick Road 16:44 / 8. Abba Zaba 19:12 / 9. Plastic Factory 21:56 / 10. Where There's Woman 25:05 /
11. Grown So Ugly 27:15 / 12. Autumn's Child 29:42
Bonus Tracks

13. Safe as Milk (Take 5) 33:45 / 14. On Tomorrow 37:59 / 15. Big Black Baby Shoes 44:56 / 16. Flower Pot 49:46 /
17. Dirty Blue Gene 53:42 / 18. Trust Us (Take 9) 56:26 / 19. Korn Ring Finger 1:03:48

Beefheart's first proper studio album is a much more accessible, pop-inflected brand of blues-rock than the efforts that followed in the late '60s -- which isn't to say that it's exactly normal and straightforward. Featuring Ry Cooder on guitar, this is blues-rock gone slightly askew, with jagged, fractured rhythms, soulful, twisting vocals from Van Vliet, and more doo wop, soul, straight blues, and folk-rock influences than he would employ on his more avant-garde outings. "Zig Zag Wanderer," "Call on Me," and "Yellow Brick Road" are some of his most enduring and riff-driven songs, although there's plenty of weirdness on tracks like "Electricity" and "Abba Zaba." [Buddha's 1999 reissue of Safe as Milk contained restored artwork and seven bonus tracks.]

~ Richie Unterberger, allmusic
 

daeman

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"Whenever I hear the word 'culture' I reach for my revolver."
Όταν ακούω τη λέξη κουλτούρα, τραβάω το πιστόλι μου.

[...]
"That's When I Reach for My Revolver" is a song by Mission of Burma that was written and sung by band member Clint Conley. It appears on their 1981 EP Signals, Calls and Marches. The Chicago punk band Pegboy covered the song on their 1994 album Earwig, shortening the title to "Revolver." It was later remade by Moby, and reached number fifty on the UK Singles Chart. It was also covered by then Blur guitarist Graham Coxon as well as Rob Dickinson's band Catherine Wheel. Fucked Up covered the song at the Matador at 21 festival in Las Vegas. The title is a reference to the often-mistranslated quotation commonly attributed to Hermann Göring -- "When I hear the word 'culture', that's when I reach for my revolver" -- the actual quote is "Wenn ich Kultur höre ... entsichere ich meinen Browning!" This translates as: "Whenever I hear [the word] 'culture'... I remove the safety from my Browning!" In fact, it is a line uttered by the character Thiemann in Act 1, Scene 1 of the play Schlageter, written by Hanns Johst. The association with Nazism is appropriate, as the play was first performed in April 1933, in honor of Hitler's birthday.

Mission of Burma

http://www.songmeanings.net/songs/view/105042/

Revolver - Pegboy

That's When I Reach for My Revolver - Graham Coxon

Catherine Wheel recorded a version of "That's When I Reach for My Revolver" for their 1992 EP 30 Century Man. Notably, the song also features slightly altered lyrics from the original, such as the replacement of "The spirit fights to find its way" with "That feeling passes by this way".


Moby covered the song in 1996 and released it as the first single from his studio album Animal Rights. It reached number fifty on the UK Singles Chart.

The original version of "That's When I Reach for My Revolver" had a substantially different lyric. Among which is "Tonight the sky is empty/But that is nothing new/Its dead eyes look upon us/And they tell me we're nothing but slaves." Moby changed the lyrics, and the change most noticeable is the third line ("Instead they look upon us").

http://moby.org/lyrics/revolver.html

The title of the song caused some controversy, and BBC and MTV asked Moby to change the lyrics. Moby re-recorded the song as "That's When I Realize It's Over", and said he did not find the lyrics change to be very important. Furthermore, the ending of both verses is different in the Moby version.


That's when I realize it's over

 

daeman

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I Robot - The Alan Parsons Project


01. Ι Robot / 02. I Wouldn't Want to Be Like You / 03. Some Other Time / 04. Breakdown / 05. Don't Let It Show /
06. The Voice / 07. Nucleus / 08. Day After Day (The Show Must Go On) / 09. Total Eclipse / 10. Genesis Ch.1 v.32

Bonus Tracks: 11. Boules (I Robot experiment) / 12. Breakdown (early demo of backing riff) / 13. I Wouldn't Want to Be Like You (backing track rough mix) / 14. Day After Day (early stage rough mix) / 15. The Naked Robot (early stage instrumental mixes)

The album was intended to be based on the I, Robot stories written by Asimov, and Woolfson actually spoke with Asimov, who was enthusiastic about the idea. As the rights already had been granted to a TV/movie company, the album's title was altered slightly by removing the comma, and the theme and lyrics were made to be more generically about robots rather than specific to the Asimov universe.

The cover inlay read: "I Robot... The story of the rise of the machine and the decline of man, which paradoxically coincided with his discovery of the wheel... and a warning that his brief dominance of this planet will probably end, because man tried to create robot in his own image."

The title of the final track, "Genesis Ch.1 v.32," follows this theme by implying a continuation to the story of Creation, since the first chapter of Genesis only has 31 verses.


 
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