Δαι μουσικές (daeman's tunes)
- Thread starter daeman
- Start date
...
Κάγκελα παντού :s - Τζίμης Πανούσης
Δεκαπέντε χιλιάδες και μία
στραβάδια, απολύομαι
τριάντα τρία χρονάκια θητεία
στραβάδια, απολύομαι
Όλο εμένανε σηκώνει
να πω μάθημα η δασκάλα
θα τη σφάξω σαν κουνέλι
και θα βγω να παίξω μπάλα
Κάγκελα, κάγκελα, κάγκελα παντού
και τα μυαλά στα κάγκελα
του αόρατου εχθρού
Βούλγαροι, Βούλγαροι,
χανούμισσες, βαζέλες
όλο το έθνος προσκυνάει
σώβρακα και φανέλες
Είμαστε η αδικημένη
γενιά του εξήντα
δίχως κατοχή και πείνα
χωρίς ρετσίνα
Τα μπούτια σου, Μαρία
σκοπιά, καψιμί, αγγαρεία
Δεκαπέντε χιλιάδες και μία
στραβάδια απολύομαι
τριαντά τρία χρονάκια θητεία
στραβάδια, απολύομαι
Μια ζωή «παρουσιάστε»
σαν εκπαιδευμένος σκύλος
εγώ δε θα πάρω άλλο
φχαριστώ, δεν είμαι φίλος
Κάγκελα παντού :s - Τζίμης Πανούσης
Δεκαπέντε χιλιάδες και μία
στραβάδια, απολύομαι
τριάντα τρία χρονάκια θητεία
στραβάδια, απολύομαι
Όλο εμένανε σηκώνει
να πω μάθημα η δασκάλα
θα τη σφάξω σαν κουνέλι
και θα βγω να παίξω μπάλα
Κάγκελα, κάγκελα, κάγκελα παντού
και τα μυαλά στα κάγκελα
του αόρατου εχθρού
Βούλγαροι, Βούλγαροι,
χανούμισσες, βαζέλες
όλο το έθνος προσκυνάει
σώβρακα και φανέλες
Είμαστε η αδικημένη
γενιά του εξήντα
δίχως κατοχή και πείνα
χωρίς ρετσίνα
Τα μπούτια σου, Μαρία
σκοπιά, καψιμί, αγγαρεία
Δεκαπέντε χιλιάδες και μία
στραβάδια απολύομαι
τριαντά τρία χρονάκια θητεία
στραβάδια, απολύομαι
Μια ζωή «παρουσιάστε»
σαν εκπαιδευμένος σκύλος
εγώ δε θα πάρω άλλο
φχαριστώ, δεν είμαι φίλος
Costas
¥
I'm spasticus autisticus
I wiggle when I piddle
'Cos my middle is a riddle
I dribble when I nibble
And I quibble when I scribble
Hello to you out there in Normal Land
You may not comprehend my tale or understand
As I crawl past your window give me lucky looks
You can read my body but you'll never read my books
I'm knobbled on the cobbles
'Cos I hobble when I wobble
Swim!
So place your hard-earned peanuts in my tin
And thank the Creator you're not in the state I'm in
So long have I been languished on the shelf
I must give all proceedings to myself
54 appliances in leather and elastic
100,000 thank you's from 27 ... spastics
Widdling, griddling, skittling, diddling, fiddling, diddling, widdling, diddling, spasticus
I'm spasticus!
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Κι επειδή σήμερα σκάει ο τζίτζικας, πάλι Hot Tuna από τον ίδιο δίσκο (Burgers), με το δροσερό Water Song, το Sea Child και το Highway Song:
[videο=youtube;p4gy53t4tjs]http://www.youtube.com/watch?v=p4gy53t4tjs[/video]
[videο=youtube;doJsZXS0p2E]http://www.youtube.com/watch?v=doJsZXS0p2E[/video]
Πάνε αυτά τα σπαστά, αλλά να ολόκληρος ο δίσκος:
Κι επειδή σήμερα σκάει ο τζίτζικας, πάλι Hot Tuna από τον ίδιο δίσκο (Burgers), με το δροσερό Water Song, το Sea Child και το Highway Song:
[videο=youtube;doJsZXS0p2E]http://www.youtube.com/watch?v=doJsZXS0p2E[/video]
Πάνε αυτά τα σπαστά, αλλά να ολόκληρος ο δίσκος:
Last edited:
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Ωραιότατο, Άζι!
Να βάλω και το πρωτότυπο Higher Ground, λάιβ από τον Stevie Wonder to 1974:
Wonder wrote, produced and played every instrument on "Higher Ground," which was recorded just before he was involved in a near-fatal car accident in August '73 — no, he wasn’t driving — that left him in a coma. Early in Wonder’s recovery, his road manager tried to revive him by singing the melody of "Ground" into the singer’s ear; Wonder responded by moving his fingers with the music.
~ Rolling Stone
και όλο τον δίσκο μια που τον βρήκα μπροστά μου, Innervisions:
Ωραιότατο, Άζι!
Να βάλω και το πρωτότυπο Higher Ground, λάιβ από τον Stevie Wonder to 1974:
Wonder wrote, produced and played every instrument on "Higher Ground," which was recorded just before he was involved in a near-fatal car accident in August '73 — no, he wasn’t driving — that left him in a coma. Early in Wonder’s recovery, his road manager tried to revive him by singing the melody of "Ground" into the singer’s ear; Wonder responded by moving his fingers with the music.
~ Rolling Stone
και όλο τον δίσκο μια που τον βρήκα μπροστά μου, Innervisions:
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W.P.A. Blues - Big Bill Broonzy
Uncensored History of the Blues
With all the recent talk in the U.S. about the government bailouts during the financial crisis it seemed like a good time to turn back to the biggest U.S. government actions in history during the New Deal. The Works Progress Administration (WPA) was the largest of the New Deal agencies and there were quite a few blues songs recorded about it. The WPA employed millions affected by the Great Depression in an effort to get people off relief and onto work on useful projects. This included huge numbers of African-Americans whose options for employment were limited.
Casey Bill Weldon recorded WPA Blues in 1936. It gets at the complex attitudes toward the WPA. Jobs are provided, but there are negative aspects too including the completion of some unwanted projects. The singer lives in a home about to be torn down by the slum clearance crews of the WPA.
Everybody's working in this town and it's worrying me night and day
Everybody's working in this town and it's worrying me night and day
If that mean working too, have to work for the WPA
Well well, the landlord come this morning and he knocked on my door
He asked me if I was going to pay my rent no more
He said you have to move if you can't pay
And then he turned and he walked slowly away
So I have to try find me some other place to stay
That housewrecking crew's coming from the WPA
Well well, went to the relief station and I didn't have a cent
If that's the only way you stand you don't have to pay no rent
So when I got back home, they was tacking a notice on the door
This house is condemned and you can't live there no more
So a notion struck me, I better be on my way
They're going to tear my house down, that crew from the WPA
Well well I went out next morning I put a lock on my door
I thought I would move but I have no place to go
The real estate people they all done got so
They don't rent to no relief clients no more
So I know, have to walk the streets night and day
Because that wrecking crew's coming from that WPA
Well well a notion struck me, I'll try to stay a day or two
But I soon found out that that wouldn't do
Early next morning while I was laying in my bed
I heard a mighty rumbling and the bricks come tumbling down on my head
So I had to start ducking and dodging and be on my way
They was tearing my house down on me, that crew from that WPA
[...]
On another note, Arthur Dent vs. the local planning office, Humanity vs. the Vogons.
W.P.A. Blues - Big Bill Broonzy
Uncensored History of the Blues
With all the recent talk in the U.S. about the government bailouts during the financial crisis it seemed like a good time to turn back to the biggest U.S. government actions in history during the New Deal. The Works Progress Administration (WPA) was the largest of the New Deal agencies and there were quite a few blues songs recorded about it. The WPA employed millions affected by the Great Depression in an effort to get people off relief and onto work on useful projects. This included huge numbers of African-Americans whose options for employment were limited.
Casey Bill Weldon recorded WPA Blues in 1936. It gets at the complex attitudes toward the WPA. Jobs are provided, but there are negative aspects too including the completion of some unwanted projects. The singer lives in a home about to be torn down by the slum clearance crews of the WPA.
Everybody's working in this town and it's worrying me night and day
Everybody's working in this town and it's worrying me night and day
If that mean working too, have to work for the WPA
Well well, the landlord come this morning and he knocked on my door
He asked me if I was going to pay my rent no more
He said you have to move if you can't pay
And then he turned and he walked slowly away
So I have to try find me some other place to stay
That housewrecking crew's coming from the WPA
Well well, went to the relief station and I didn't have a cent
If that's the only way you stand you don't have to pay no rent
So when I got back home, they was tacking a notice on the door
This house is condemned and you can't live there no more
So a notion struck me, I better be on my way
They're going to tear my house down, that crew from the WPA
Well well I went out next morning I put a lock on my door
I thought I would move but I have no place to go
The real estate people they all done got so
They don't rent to no relief clients no more
So I know, have to walk the streets night and day
Because that wrecking crew's coming from that WPA
Well well a notion struck me, I'll try to stay a day or two
But I soon found out that that wouldn't do
Early next morning while I was laying in my bed
I heard a mighty rumbling and the bricks come tumbling down on my head
So I had to start ducking and dodging and be on my way
They was tearing my house down on me, that crew from that WPA
[...]
On another note, Arthur Dent vs. the local planning office, Humanity vs. the Vogons.
...
Άντε να σηκωνόμαστε σιγά σιγά να ξεσκουριάσουμε, καλοκαίριασε κι επίσημα πια, νεάνιδες και νεανίες! :up:
The Blues Brothers OST (μπερνιανακινηθέν)
01 00:08 The Blues Brothers with lead vocals by Jake Blues - "She Caught the Katy" (Taj Mahal, Rachell)
02 04:13 The Blues Brothers Band - "Peter Gunn Theme" (Mancini)
03 07:57 The Blues Brothers with Jake Blues - "Gimme Some Lovin'" (S. Winwood, M. Winwood, Davis)
04 11:03 Ray Charles with the Blues Brothers - "Shake a Tail Feather" (Otis Hayes, Andre Williams, Verlie Rice)
05 13:49 The Blues Brothers - "Everybody Needs Somebody to Love" (Wexler, Berns, Burke)
06 17:11 James Brown and the Rev. James Cleveland Choir - "The Old Landmark" (Brunner)
07 20:06 Aretha Franklin and the Blues Brothers - "Think" (White, Franklin)
08 23:20 Elwood and Jake and the Blues Brothers Band - "Theme from Rawhide" (Tiomkin)
09 25:57 Cab Calloway with the Blues Brothers Band - "Minnie the Moocher" (Calloway, Mills)
10 29:21 Dedicated to the musician Magic Sam - "Sweet Home Chicago" (Johnson)
11 37:11 Jake Blues and the Blues Brothers - "Jailhouse Rock" (Leiber, Stoller)
For the day of the Lord cometh as a thief in the night. Enjoy yourself while you're still in the pink.
Άντε να σηκωνόμαστε σιγά σιγά να ξεσκουριάσουμε, καλοκαίριασε κι επίσημα πια, νεάνιδες και νεανίες! :up:
The Blues Brothers OST (μπερνιανακινηθέν)
01 00:08 The Blues Brothers with lead vocals by Jake Blues - "She Caught the Katy" (Taj Mahal, Rachell)
02 04:13 The Blues Brothers Band - "Peter Gunn Theme" (Mancini)
03 07:57 The Blues Brothers with Jake Blues - "Gimme Some Lovin'" (S. Winwood, M. Winwood, Davis)
04 11:03 Ray Charles with the Blues Brothers - "Shake a Tail Feather" (Otis Hayes, Andre Williams, Verlie Rice)
05 13:49 The Blues Brothers - "Everybody Needs Somebody to Love" (Wexler, Berns, Burke)
06 17:11 James Brown and the Rev. James Cleveland Choir - "The Old Landmark" (Brunner)
07 20:06 Aretha Franklin and the Blues Brothers - "Think" (White, Franklin)
08 23:20 Elwood and Jake and the Blues Brothers Band - "Theme from Rawhide" (Tiomkin)
09 25:57 Cab Calloway with the Blues Brothers Band - "Minnie the Moocher" (Calloway, Mills)
10 29:21 Dedicated to the musician Magic Sam - "Sweet Home Chicago" (Johnson)
11 37:11 Jake Blues and the Blues Brothers - "Jailhouse Rock" (Leiber, Stoller)
For the day of the Lord cometh as a thief in the night. Enjoy yourself while you're still in the pink.
...
Talking Timbuktu - Ali Farka Touré with Ry Cooder
1. Bonde (00:00) / 2. Soukora (05:31) / 3. Gomni (11:38) / 4. Sega (18:38) / 5. Amandrai (21:49) / 6. Lasidan (31:12) /
7. Kelto (37:18) / 8. Banga (43:01) / 9. Ai Du (45:34) / 10. Diaraby (52:44)
Guitarist Ali Farka Touré has repeatedly bridged the gap between traditional African and contemporary American vernacular music, and this release continues that tradition. The CD features him singing in 11 languages and playing acoustic and electric guitar, six-string banjo, njarka, and percussion, while teaming smartly with an all-star cast that includes superstar fusion bassist John Patitucci, session drummer Jim Keltner, longtime roots music great Ry Cooder (who doubled as producer), venerable guitarist Gatemouth Brown, and such African percussionists and musicians as Hamma Sankare on calabash and Oumar Touré on congas.
~Ron Wynn, allmusic
Μόνο με τέτοια μουσική υπόκρουση μπορώ να δουλέψω σήμερα.
Talking Timbuktu - Ali Farka Touré with Ry Cooder
1. Bonde (00:00) / 2. Soukora (05:31) / 3. Gomni (11:38) / 4. Sega (18:38) / 5. Amandrai (21:49) / 6. Lasidan (31:12) /
7. Kelto (37:18) / 8. Banga (43:01) / 9. Ai Du (45:34) / 10. Diaraby (52:44)
Guitarist Ali Farka Touré has repeatedly bridged the gap between traditional African and contemporary American vernacular music, and this release continues that tradition. The CD features him singing in 11 languages and playing acoustic and electric guitar, six-string banjo, njarka, and percussion, while teaming smartly with an all-star cast that includes superstar fusion bassist John Patitucci, session drummer Jim Keltner, longtime roots music great Ry Cooder (who doubled as producer), venerable guitarist Gatemouth Brown, and such African percussionists and musicians as Hamma Sankare on calabash and Oumar Touré on congas.
~Ron Wynn, allmusic
Μόνο με τέτοια μουσική υπόκρουση μπορώ να δουλέψω σήμερα.
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Super Session
Al Kooper — vocals, piano, organ, ondioline, electric guitar, twelve-string guitar / Mike Bloomfield — guitars on side one
Stephen Stills — guitars on side two / Barry Goldberg — electric piano on "Albert's Shuffle" and "Stop" / Harvey Brooks — bass / Eddie Hoh — drums, percussion
SIDE ONE (feat. Michael Bloomfield)
1. Albert's Shuffle - 0:00 / 2. Stop - 6:52 / 3. Man's Temptation - 11:09 / 4. His Holy Modal Majesty - 14:34 / 5. Really - 23:48
SIDE TWO (feat. Stephen Stills)
1. It Takes A Lot To Laugh, It Takes A train To Cry - 29:16 / 2. Season of the Witch - 32:45 / 3. You Don't Love Me - 43:53 /
4. Harvey's Tune - 48:03
As the Beatles' Sgt. Pepper's Lonely Hearts Club Band (1967) had done a year earlier, Super Session (1968) initially ushered in several new phases in rock & roll's concurrent transformation. In the space of mere months, the soundscape of rock shifted radically from two- and three-minute danceable pop songs to comparatively longer works with more attention to technical and musical subtleties. [...] This is one of those albums that seems to get better with age and that gets the full reissue treatment every time a new audio format comes out. This is a super session indeed.
~Lindsay Planer - allmusic
Super Session
Al Kooper — vocals, piano, organ, ondioline, electric guitar, twelve-string guitar / Mike Bloomfield — guitars on side one
Stephen Stills — guitars on side two / Barry Goldberg — electric piano on "Albert's Shuffle" and "Stop" / Harvey Brooks — bass / Eddie Hoh — drums, percussion
SIDE ONE (feat. Michael Bloomfield)
1. Albert's Shuffle - 0:00 / 2. Stop - 6:52 / 3. Man's Temptation - 11:09 / 4. His Holy Modal Majesty - 14:34 / 5. Really - 23:48
SIDE TWO (feat. Stephen Stills)
1. It Takes A Lot To Laugh, It Takes A train To Cry - 29:16 / 2. Season of the Witch - 32:45 / 3. You Don't Love Me - 43:53 /
4. Harvey's Tune - 48:03
As the Beatles' Sgt. Pepper's Lonely Hearts Club Band (1967) had done a year earlier, Super Session (1968) initially ushered in several new phases in rock & roll's concurrent transformation. In the space of mere months, the soundscape of rock shifted radically from two- and three-minute danceable pop songs to comparatively longer works with more attention to technical and musical subtleties. [...] This is one of those albums that seems to get better with age and that gets the full reissue treatment every time a new audio format comes out. This is a super session indeed.
~Lindsay Planer - allmusic
...
Live Adventures of Mike Bloomfield and Al Kooper at The Fillmore Auditorium, 26th, 27th & 28th September, 1968
Al Kooper – vocals, organ, ondioline, piano (overdub as Roosevelt Gook on "Together 'Til The End Of Time") /
Mike Bloomfield – guitar, vocals / John Kahn – bass guitar / Skip Prokop – drums
01. Opening Speech (Mike Bloomfield) / 02. The 59th Street Bridge Song (Feelin' Groovy) (Paul Simon) /
03. I Wonder Who (Ray Charles) / 04. Her Holy Modal Highness (Mike Bloomfield/Al Kooper) /
05. The Weight (Robbie Robertson) / 06. Mary Ann (Ray Charles) / 07. Together 'Til The End Of Time (Frank Wilson) /
08. That's All Right (Arthur Crudup) / 09. Green Onions (Booker T. Jones/ Steve Cropper/Lewis Steinberg/Al Jackson, Jr.) /
10. Fat Grey Cloud (Mike Bloomfield/Al Kooper) / 11. Dear Mr. Fantasy (Jim Capaldi/Steve Winwood/Chris Wood) /
12. Don't Throw Your Love On Me So Strong (Albert King) / 13. Finale-Refugee (Mike Bloomfield/Al Kooper)
Εκτός από δύο κομμάτια - το ένα μια από τις πρώτες λάιβ ηχογραφήσεις του σχεδόν αμούστακου Κάρλος Σαντάνα και το άλλο με τον Έλβιν Μπίσοπ - πανομοιότυπο με το The Live Adventures of Mike Bloomfield and Al Kooper, με το εξώφυλλο του Νόρμαν Ρόκγουελ:
Live Adventures of Mike Bloomfield and Al Kooper at The Fillmore Auditorium, 26th, 27th & 28th September, 1968
Al Kooper – vocals, organ, ondioline, piano (overdub as Roosevelt Gook on "Together 'Til The End Of Time") /
Mike Bloomfield – guitar, vocals / John Kahn – bass guitar / Skip Prokop – drums
01. Opening Speech (Mike Bloomfield) / 02. The 59th Street Bridge Song (Feelin' Groovy) (Paul Simon) /
03. I Wonder Who (Ray Charles) / 04. Her Holy Modal Highness (Mike Bloomfield/Al Kooper) /
05. The Weight (Robbie Robertson) / 06. Mary Ann (Ray Charles) / 07. Together 'Til The End Of Time (Frank Wilson) /
08. That's All Right (Arthur Crudup) / 09. Green Onions (Booker T. Jones/ Steve Cropper/Lewis Steinberg/Al Jackson, Jr.) /
10. Fat Grey Cloud (Mike Bloomfield/Al Kooper) / 11. Dear Mr. Fantasy (Jim Capaldi/Steve Winwood/Chris Wood) /
12. Don't Throw Your Love On Me So Strong (Albert King) / 13. Finale-Refugee (Mike Bloomfield/Al Kooper)
Εκτός από δύο κομμάτια - το ένα μια από τις πρώτες λάιβ ηχογραφήσεις του σχεδόν αμούστακου Κάρλος Σαντάνα και το άλλο με τον Έλβιν Μπίσοπ - πανομοιότυπο με το The Live Adventures of Mike Bloomfield and Al Kooper, με το εξώφυλλο του Νόρμαν Ρόκγουελ:
...
Paul Butterfield's Better Days
Paul Butterfield - vocals, electric piano & harp / Ronnie Barron - organ, piano & electric piano, chorus (8) /
Geoff Muldaur - guitar, slide guitar, piano & vocals / Amos Garett - guitar / Billy Rich - bass / Christopher Parker - drums /
Howard Johnson – baritone sax (2, 3) / Peter Ecklund – trumpet (2) / Sam Burtis – trombone (2) / Gene Dinwiddie – tenor sax (2) / Dave Sanborn – alto sax (2,3) / Stan Shafran – trumpet (3) / J.D. Parran – tenor sax (3) / Gary Brocks – trombone (3) /
Maria Muldaur – vocals and fiddle (5), chorus (7, 8) / Bobby Charles, Dennis Whitted - chorus (8)
1. New Walkin' Blues (Robert Johnson) 00:00 / 2. Please Send Me Someone To Love (Percy Mayfield) 04:53 /
3. Broke My Baby's Heart (Ronnie Barron) 10:02 / 4. Done A Lot Of Wrong Things (Bobby Charles) 15:14 /
5. Baby Please Don't Go (Big Joe Williams) 19:06 / 6. Buried Alive In The Blues (Nick Gravenites) 22:39 /
7. Rule The Road (Eric von Schmidt) 26:22 / 8. Nobody's Fault But Mine (Nina Simone) 30:36 / 9. Highway 28 (Rod Hicks) 34:12
"We're the only band around that's playing rooted American music," Better Days vocalist and former folkie Geoff Muldaur told an interviewer when this album was first released in 1973, and with perhaps just a handful of exceptions he was right. The band's mix of various styles of blues, from rural (Robert Johnson), to cosmopolitan (Percy Mayfield), along with hints of New Orleans R&B, boogie woogie, and early rock and country, was tremendously out of step with the pop trends of its time.
These days, of course, there are many bands doing more or less the same thing (although rarely as well), but the fact that these guys couldn't have cared less about appearing trendy is one of the reasons why BETTER DAYS sounds timeless. Another reason, of course, is world class musicianship; Muldaur, Paul Butterfield, and stupendously stylish guitarist Amos Garrett in particular come across as both relaxed and passionate. Despite their essentially formalistic approach to music making, they never sound academic or sterile. BETTER DAYS is one of the great lost albums of the '70s.
~allmusic
Paul Butterfield's Better Days
Paul Butterfield - vocals, electric piano & harp / Ronnie Barron - organ, piano & electric piano, chorus (8) /
Geoff Muldaur - guitar, slide guitar, piano & vocals / Amos Garett - guitar / Billy Rich - bass / Christopher Parker - drums /
Howard Johnson – baritone sax (2, 3) / Peter Ecklund – trumpet (2) / Sam Burtis – trombone (2) / Gene Dinwiddie – tenor sax (2) / Dave Sanborn – alto sax (2,3) / Stan Shafran – trumpet (3) / J.D. Parran – tenor sax (3) / Gary Brocks – trombone (3) /
Maria Muldaur – vocals and fiddle (5), chorus (7, 8) / Bobby Charles, Dennis Whitted - chorus (8)
1. New Walkin' Blues (Robert Johnson) 00:00 / 2. Please Send Me Someone To Love (Percy Mayfield) 04:53 /
3. Broke My Baby's Heart (Ronnie Barron) 10:02 / 4. Done A Lot Of Wrong Things (Bobby Charles) 15:14 /
5. Baby Please Don't Go (Big Joe Williams) 19:06 / 6. Buried Alive In The Blues (Nick Gravenites) 22:39 /
7. Rule The Road (Eric von Schmidt) 26:22 / 8. Nobody's Fault But Mine (Nina Simone) 30:36 / 9. Highway 28 (Rod Hicks) 34:12
"We're the only band around that's playing rooted American music," Better Days vocalist and former folkie Geoff Muldaur told an interviewer when this album was first released in 1973, and with perhaps just a handful of exceptions he was right. The band's mix of various styles of blues, from rural (Robert Johnson), to cosmopolitan (Percy Mayfield), along with hints of New Orleans R&B, boogie woogie, and early rock and country, was tremendously out of step with the pop trends of its time.
These days, of course, there are many bands doing more or less the same thing (although rarely as well), but the fact that these guys couldn't have cared less about appearing trendy is one of the reasons why BETTER DAYS sounds timeless. Another reason, of course, is world class musicianship; Muldaur, Paul Butterfield, and stupendously stylish guitarist Amos Garrett in particular come across as both relaxed and passionate. Despite their essentially formalistic approach to music making, they never sound academic or sterile. BETTER DAYS is one of the great lost albums of the '70s.
~allmusic
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The Complete In a Silent Way Sessions - Miles Davis
Miles Davis – trumpet / Wayne Shorter – tenor saxophone (Disc 1: All), soprano saxophone /
Chick Corea – electric piano / John McLaughlin – electric guitar (Disc 2: Tracks 4-7; Disc 3: All) /
Herbie Hancock – electric piano / Joe Zawinul – organ (Disc 2; Disc 3) / Dave Holland – double bass /
Tony Williams – drums / Jack DeJohnette – drums (Disc 2: Tracks 1-3) / Joe Chambers – drums (Disc 3: Tracks 1 and 2)
Disc 1
1. Mademoiselle Mabry - 16:37 / 2. Frelon Brun (Brown Hornet) - 5:40 / 3. Two Faced - 18:03 /
4. Dual Mr. Anthony Tillmon Williams Process - 13:23 / 5. Splash: Interlude 1/Interlude 2/Interlude 3 [rejected] - 10:08 /
6. Splashdown: Interlude 1 (no horns)/Interlude 2 (no horns) - 8:03 unreleased track
Disc 2
1. Ascent - 14:54 / 2. Directions, I - 6:50 / 3. Directions, II - 4:53 / 4. Shhh/Peaceful - 19:17 unreleased /
5. In a Silent Way (Rehearsal) - 5:26 unreleased / 6. In a Silent Way - 4:18 unreleased /
7. It's About That Time - 11:27 unreleased
Disc 3
1. The Ghetto Walk - 26:49 unreleased / 2. Early Minor - 6:58 unreleased / 3. Shhh/Peaceful/Shhh (LP Version) - 18:18 /
4. In a Silent Way/It's About That Time/In a Silent Way (LP Version) - 19:52
Of all the recording sessions completed by Miles Davis with his various bands, the sessions surrounding In a Silent Way Sessions in 1968 and 1969 are easily the most mysterious and enigmatic. For starters, they signified the completion of his transformation from acoustic to electric sound, and secondly, they marked the complete dissolution of the "second" quintet of Davis, Herbie Hancock, Tony Williams, Wayne Shorter, and Ron Carter that had begun on Filles de Kilimanjaro. The addition of Chick Corea as a second keyboard player and the replacement of Ron Carter with Dave Holland had changed the sound of the band's dynamic, textural, and rhythmic palettes. The final break with Davis' own previous musical sound happened when he added guitarist John McLaughlin and keyboardist/composer Joe Zawinul (for a temporary three-keyboard sound).
...
All of the material included from these sessions offers perhaps the most fascinating look to date into the musical mind of Miles Davis, who was undergoing a revolution of his own -- he looked to the younger players for inspiration and guidance in how to handle the new forms; the liner notes bear this atypical personification out. Each track is an audible step in that development, and a step toward the goal of what would be the first Miles Davis "groove" album -- not in the Blue Note sense of the vernacular -- one of atmosphere and ambience and texture and drift -- not of melodies and changes. [...] In many ways -- far more so than the Bitches Brew sessions -- this is the long-sought key that unlocks the door to the room that has the answers as to why and how Davis made such a complete break with his own music on In a Silent Way -- a music which he never returned to -- at least on record. It's the first box set in a long time that's been worth playing from beginning to end.
~Thom Jurek, allmusic
The Complete In a Silent Way Sessions - Miles Davis
Miles Davis – trumpet / Wayne Shorter – tenor saxophone (Disc 1: All), soprano saxophone /
Chick Corea – electric piano / John McLaughlin – electric guitar (Disc 2: Tracks 4-7; Disc 3: All) /
Herbie Hancock – electric piano / Joe Zawinul – organ (Disc 2; Disc 3) / Dave Holland – double bass /
Tony Williams – drums / Jack DeJohnette – drums (Disc 2: Tracks 1-3) / Joe Chambers – drums (Disc 3: Tracks 1 and 2)
Disc 1
1. Mademoiselle Mabry - 16:37 / 2. Frelon Brun (Brown Hornet) - 5:40 / 3. Two Faced - 18:03 /
4. Dual Mr. Anthony Tillmon Williams Process - 13:23 / 5. Splash: Interlude 1/Interlude 2/Interlude 3 [rejected] - 10:08 /
6. Splashdown: Interlude 1 (no horns)/Interlude 2 (no horns) - 8:03 unreleased track
Disc 2
1. Ascent - 14:54 / 2. Directions, I - 6:50 / 3. Directions, II - 4:53 / 4. Shhh/Peaceful - 19:17 unreleased /
5. In a Silent Way (Rehearsal) - 5:26 unreleased / 6. In a Silent Way - 4:18 unreleased /
7. It's About That Time - 11:27 unreleased
Disc 3
1. The Ghetto Walk - 26:49 unreleased / 2. Early Minor - 6:58 unreleased / 3. Shhh/Peaceful/Shhh (LP Version) - 18:18 /
4. In a Silent Way/It's About That Time/In a Silent Way (LP Version) - 19:52
Of all the recording sessions completed by Miles Davis with his various bands, the sessions surrounding In a Silent Way Sessions in 1968 and 1969 are easily the most mysterious and enigmatic. For starters, they signified the completion of his transformation from acoustic to electric sound, and secondly, they marked the complete dissolution of the "second" quintet of Davis, Herbie Hancock, Tony Williams, Wayne Shorter, and Ron Carter that had begun on Filles de Kilimanjaro. The addition of Chick Corea as a second keyboard player and the replacement of Ron Carter with Dave Holland had changed the sound of the band's dynamic, textural, and rhythmic palettes. The final break with Davis' own previous musical sound happened when he added guitarist John McLaughlin and keyboardist/composer Joe Zawinul (for a temporary three-keyboard sound).
...
All of the material included from these sessions offers perhaps the most fascinating look to date into the musical mind of Miles Davis, who was undergoing a revolution of his own -- he looked to the younger players for inspiration and guidance in how to handle the new forms; the liner notes bear this atypical personification out. Each track is an audible step in that development, and a step toward the goal of what would be the first Miles Davis "groove" album -- not in the Blue Note sense of the vernacular -- one of atmosphere and ambience and texture and drift -- not of melodies and changes. [...] In many ways -- far more so than the Bitches Brew sessions -- this is the long-sought key that unlocks the door to the room that has the answers as to why and how Davis made such a complete break with his own music on In a Silent Way -- a music which he never returned to -- at least on record. It's the first box set in a long time that's been worth playing from beginning to end.
~Thom Jurek, allmusic