Δαι μουσικές (daeman's tunes)

daeman

daeman

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Επειδή, εκτός από τη διασκευή που το έκανε πασίγνωστο, έρχεται στιγμή και για την εκτέλεση από τον ίδιο τον συνθέτη, ορίστε ο Πιτ Σίγκερ στο Turn! Turn! Turn! (to Everything There Is a Season) το οποίο ηχογράφησε λίγους μήνες μετά τους πρώτους που το κυκλοφόρησαν, τους Limeliters (μαζί με τους οποίους έπαιζε και ο Ρότζερ ΜακΓκουίν των Byrds —βαστούσε χρόνια αυτή η κολόνια— με το πρώτο όνομά του, Jim McGuinn).



Έτσι ήρθε και η ώρα για μια γυναικεία φωνή να το πει μαζί με τον συνθέτη, η φωνή της Τζούντι Κόλινς:



Κι όταν μιλάμε για γυναικείες φωνές και το έχει τραγουδήσει και η Νίνα Σιμόν (κι επειδή το βρήκα), δεν μπορώ να παραλείψω τη διασκευή της, στο Παρίσι το 1968:

 
daeman

daeman

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Άλλη μια εκτέλεση, του 1968, η δεύτερη πλευρά (το φλιπσάιντ, ελληνιστί) του σινγκλ με το οποίο ντεμπουτάρισε η Ουαλή Μαίρη Χόπκιν (και παραλίγο η Apple Records των Beatles: αυτό το σινγκλ είχε αριθμό καταλόγου APPLE 2), μια παραγωγή του Πολ Μακάρτνεϊ:



Του οποίου σινγκλ η πρώτη πλευρά είχε το Those Were the Days, σύνθεση του Ρώσου Μπόρις Φομίν σε στίχους του ποιητή Κονσταντίν Ποντρέφσκι αρχικά, με τίτλο "Dorogoi dlinnoyu" ("Дорогой длинною", "By the long road"). Σ' αυτή τη μελωδία πρόσθεσε αγγλικούς στίχους ο Τζιν Ράσκιν κι έτσι το ηχογράφησε η Μαίρη Χόπκιν (στίχους που παρεμπιπτόντως έχουν σχέση με το δεύτερο παράδειγμα της Αλεξάνδρας στο νήμα που με έκανε να πιάσω αυτόν τον μίτο).

In the early 1960s Raskin, with his wife Francesca, played folk music around Greenwich Village in New York, including White Horse Tavern. They released an album which included the song, which was taken up by The Limeliters. Raskin had grown up hearing the song, wrote lyrics in English and then put a copyright on both tune and lyrics. The Raskins were international performers and had played London's "Blue Angel" every year, always closing their show with the song. Paul McCartney frequented the club and, after the formation of The Beatles' own Apple Records label, recorded the song with Mary Hopkin, McCartney's agent having purchased the song rights from Raskin's.
http://en.wikipedia.org/wiki/Those_Were_the_Days_(song)


Those were the days, my friend
We thought they'd never end
We'd sing and dance forever and a day
We'd live the life we'd choose
We'd fight and never lose
For we were young and sure to have our way


Κι επειδή για το προηγούμενο, το Turn! Turn! Turn!, δεν βρήκα βιντεάκι με την πρώτη ηχογράφησή του από τους Limeliters, ορίστε το Those Were the Days από αυτούς, του 1962:


Έπεται συνέχεια, αλλά κάθε πράμα στην ώρα του.
A time to sing, a time to play, a time to work and a time to pay, a time to every purpose here in Lexi.
 
nickel

nickel

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Επίτρεψέ μου τώρα κι εμένα να φιλοξενήσω εδώ αυτό το ντοκιμαντέρ για τον Πιτ Σίγκερ (Pete Seeger). Βρήκα μιάμιση ώρα και ήρεμη δουλειά και το απόλαυσα. Δεν ήξερα ή δεν θυμόμουν ότι το Turn, Turn, Turn ήταν δικό του. Ήξερα για το Where Have All the Flowers Gone? και για το If I Had a Hammer, αν και τον έχουμε ταυτίσει κυρίως με το We Shall Overcome. Βρείτε μιάμιση ώρα: ιστορία, επιμόρφωση, συγκίνηση και πολλή πανέμορφη μουσική.

Pete Seeger: The Power of Song (2007)

 
daeman

daeman

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Εξαιρετικό! Ευχαριστώ, Νίκελ. Αν σου πω ότι προχθές που έψαχνα εκτελέσεις του Turn! Turn! Turn! για να βάλω παραπάνω, έπεσα πάνω σ' αυτό το ντοκιμαντέρ και το κράτησα στους σελιδοδείκτες για να το δω και να το προσθέσω εδώ, κι επειδή με ξέρεις, θα με πιστέψεις, έτσι; :)


Για άλλο λόγο όμως ήρθα εδώ: επειδή θυμήθηκα έναν γκουρού, είπα να βάλω ένα κομμάτι που θεωρείται από τα πρώτα ραπαριστά στη ροκ μουσική:

Year of the Guru - Eric Burdon & The Animals


My leader told me to jump in the river
The river was deep and the weather was winter
After a sailor very kindly saved me
My leader told me, you'd better take it easy
I took it so easy my leader called me lazy
...
Now listen to this baby
This is the year of the guru
Now the thing to do is to ask yourself
What can a guru do for me?
Then you say to yourself
I gotta get a guru

A groovy guru
 
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daeman

daeman

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The Immigrant Lad - Eric Burdon & The Animals


The river was muddy and black, black as the coal she carried
Impossible to cross, many men had tried
The old sailor told me, another life is lost

And here I sit with a tear in my eye
The waters of Tyne in between you and I

Black was the colour of my childish dreams, impressions that would last
Black coal, coal black pit yacka's face, escaping the coal dust blast
Blind pony stumblin' to the light of day, to retire in the green fields forever
And I'll build me a bridge of steel, to beat the black river forever
I'll beat that black river forever, I'll beat that muddy river forever
 
daeman

daeman

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Crazy Rhythms (1980) - The Feelies

Side One
1. The Boy with the Perpetual Nervousness 5:10 / 2. Fa Cé-La 2:04 / 3. Loveless Love 5:14 / 4. Forces at Work 7:10
Side two
1. Original Love 2:55 / 2. Everybody's Got Something to Hide (Except Me and My Monkey) (John Lennon, Paul McCartney) 4:18
3. Moscow Nights 4:34 / 4. Raised Eyebrows 3:00 / 5. Crazy Rhythms 6:13

Bonus Track Paint It Black (Mick Jagger, Keith Richards) 2:48

http://thefeeliesweb.com/lyrics/lyrcrazy.html
Even the cover is a winner, with a washed-out look that screams new wave via horn-rimmed glasses, even more so than contemporaneous pictures of either Elvis Costello or the Embarrassment. But if it was all look and no brain, Crazy Rhythms would long ago have been dismissed as an early-'80s relic. That's exactly what this album is not, right from the soft, haunting hints of percussion that preface the suddenly energetic jump of the appropriately titled "The Boy With the Perpetual Nervousness." From there the band delivers seven more originals plus a striking cover of the Beatles' "Everybody's Got Something to Hide" that rips along even more quickly than the original. The guitar team of Mercer and Million smokes throughout, whether it's soft, rhythmic chiming with a mysterious, distanced air or blasting, angular solos. But Fier is the band's secret weapon, able to play straight-up beats but aiming at a rumbling, strange punch that updates Velvet Underground/Krautrock trance into giddier realms. Mercer's obvious Lou Reed vocal inflections make the VU roots even clearer, but even at this stage of the game there's something fresh about the work the quartet does, even 20 years on -- a good blend of past and present, rave-up and reflection.

~Ned Raggett, allmusic
"The sound we were after was a reaction against the punk scene," says Mercer. "Being a little older, we felt it had all been done before. We wanted the guitars to be cleaner, and we started experimenting with a lot of percussion."

Their record label, however, "hated it," according to Mercer. "They brought us into a meeting, put Lene Lovich's latest song on the turntable and said, 'You guys gotta come up with something like this.'" The album received little promotion, Fier was soon wooed away by the Lounge Lizards, and the band broke up for several years.

"People have talked about remixing and re-releasing it," says Mercer, "but you don't want to mess around with it. It's got a life of its own."

Rolling Stone, 100 Best Albums of the '80s, #49
 
daeman

daeman

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Sugar Rum Cherry (Dance of the Sugar-Plum Fairy) - Duke Ellington & Billy Strayhorn


«Χρόνια πολλά» μου μήνυσε η νεράιδα Ζαχαρένια
να ειπώ σας χαιρετίσματα, να 'ναι μαλαματένια
καλόχαροι όλες τις γιορτές να την περνάτε σένια! :)
 
daeman

daeman

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Les Paul, Chasing Sound

Influenced by the great gypsy guitarist Django Reinhardt, Paul was one of the best and earliest electric guitarists. Along with a handful of players like George Barnes, Merle Travis and Charlie Christian, he changed the sound of popular music. And if Paul didn’t actually invent the solid body electric guitar (a fiction which he happily tolerated), he was a pioneer in its evolution, and he did more than anyone to popularize what would become the dominant instrumental voice of contemporary music.

Of course, sound and its replication are a central part of the Les Paul saga. He is acknowledged as a father of multitrack recording, overdubbing and the electronic reverb effect. Multitrack recording had intrigued Paul since he experimented as a kid with poking extra holes in the sheets for his mom’s player piano.

“I got a letter from Sinatra,” he says. “It’s a wonderful letter. I don’t remember the exact words, but he says if it wasn’t for you, I’d still be recording my first song. It was the multitrack recording he meant. Paul McCartney said the same thing: ‘I don’t care how much guitar you played, I don’t care how many hits you had, you invented that multitrack recording, and that made the difference.’ ”

http://www.lespaulfilm.com

"He could burn the frets right off a guitar" - Steve Miller
"He put the tools in our hands" - Keith Richards
"...he's The Source." - Anderson Cooper, CNN
"... still The Man." - Los Angeles Times
"...he's the Boss!" - B.B. King

Για μια Γκίμπσον Λες Πολ, την Γκόλντι.
 
daeman

daeman

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Chris Hadfield sings "Space Oddity" in the first music video in space


After five months in space, an astronaut is saying his goodbye to the International Space Station with a classic performance of one of David Bowie's cosmic classics: "Space Oddity."

In new music video from space unveiled Sunday (May 12), Canadian astronaut Chris Hadfield sings David Bowie's "Space Oddity" in a visually striking performance recorded in anticipation of Hadfield's return to Earth today.
SPACE.com | May 13, 2013 10:20am ET

Ground control to Major Tom
Ground control to Major Tom
Lock your Soyuz hatch and put your helmet on

Ground control to Major Tom
Commencing countdown engines on
Detach from station and may God’s love be with you

This is ground control to Major Tom
You’ve really made the grade
and the papers want to know whose shirts you wear
But it’s time to guide the capsule if you dare

This is Major Tom to ground control
I’ve left forevermore
And I’m floating in most peculiar way
And the stars look very different today

For here am I sitting in a tin can
Far above the world
The planet Earth is blue and there’s nothing left to do

Though I’ve flown one hundred thousand miles
I’m feeling very still
And before too long I know it’s time to go
Our commander comes down back to earth, and knows

Ground control to Major Tom
The time is near, there’s not too long
Can you hear me Major Tom?
Can you hear me Major Tom?
Can you hear me Major Tom?
Can you hear…

Here am I floating in my tin can
A last glimpse of the world
The planet Earth is blue and there’s nothing left to do
 
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Costas

Costas

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Τα λόγια του Space Oddity είναι σχολείο στιχουργίας!

Ακούω αυτές τις μέρες συνεχώς Freddie Hubbard στο spotify. Δύσκολο να διαλέξεις την αφρόκρεμα μέσ' απ' την αφρόκρεμα, αλλά τέλος πάντων από τα έξι πρώτα άλμπουμ του εκείνο που οι συνθέσεις και το παίξιμο μ' έχουν ενθουσιάσει περισσότερο είναι το εκδομένο πολύ αργότερα από την ηχογράφηση του 1962, δηλ. το 1976, Here to Stay, κι ας μην τον έχει 5άστερο το AllMusic. Ο πιανίστας Cedar Walton, στα χνάρια του McCoy Tyner, δίνει σε ορισμένα κομμάτια του δίσκου ένα modal άρωμα όπως το είχε λανσάρει το κουαρτέτο του John Coltrane της ίδιας εποχής. Εδώ όμως λάμπουν δύο σωλήνες, η τρομπέτα του Hubbard και το σαξόφωνο του W. Shorter. Δε μου κάνει καρδιά να προχωρήσω στον επόμενο δίσκο!

https://play.spotify.com/album/7mtewQM5RycRtEtGYAlLH5
 
daeman

daeman

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Costas said:
Τα λόγια του Space Oddity είναι σχολείο στιχουργίας!
...
Click to expand...

Chris Hadfield, “Space Oddity” Lyrics Breakdown: The Man Who Fell to Earth

In many ways, “Space Oddity” makes a fine choice for astronaut Chris Hadfield’s final installment of his amazing series of videos shot at the International Space Station. Not only is it the most famous pop song about space, it’s also full of the kind of otherwordly grandeur we like to imagine an astronaut’s life is filled with. There’s just one problem: It’s a song about dying in outer space. Kind of depressing for a viral video.

What’s a self-respecting singing astronaut to do? Change the words, of course! Besides being a top-notch pilot and a master of aviation systems, Hadfield turns out to be a pretty good lyricist. Let’s run down his changes, to see:
[...]
Zero-G Guitar: Re-Learning How To Play In Space


 
Costas

Costas

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Να κι ένας δίσκος του Freddie Hubbard που δεν τον βρήκα στο spotify. Αλλά και στο YouTube δύο αποσπάσματα βρήκα μόνο. Είναι μια συνεργασία του 1971, ανάμεσα στο κουιντέτο του Hubbard και στον αβανγκαρντίστα συνθέτη Ilhan Mimaroglou, με διάφορους συντελεστές και με τίτλο Sing me a Song for Songmy (μακριά από το spyware που κρύβεται πίσω από το λινκ στο download!!).


(στο δεύτερο θ' ακούσετε και απαγγελία κινέζικης ποίησης...)
 
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