Δαι μουσικές (daeman's tunes)

daeman

daeman

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Big Brother / Chant of the ever circling skeletal family - David Bowie


"Big Brother" is a song written by David Bowie in 1973 and intended for his never-produced musical based on George Orwell's Nineteen Eighty-Four. In 1974 it was released on the album Diamond Dogs. It segued into the final track on the record, "Chant of the Ever Circling Skeletal Family". Lyrically, the song reflects the ending of Nineteen Eighty-Four, where Winston Smith's brainwashing is complete, and he loves Big Brother.
 
daeman

daeman

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Να 'ταν η άνοιξη σπαθί - Ψαρογιώργης


Χρόνε που γιαίνεις τσι πληγές, δώσε κι εμέ βοτάνι,
διώχνε τσι μέρες σου γοργά, ο πόνος μου να γιάνει

Να 'ταν η άνοιξη σπαθί στση νιότης μας το χέρι,
στο χρόνο και το θάνατο να στήναμε καρτέρι

“Spring, spring! Bytuene Mershe ant Averil, when spray biginneth to spring! When shaws be sheene and swards full fayre, and leaves both large and longe! When the hounds of spring are on winter’s traces, in the spring time, the only pretty ring time, when the birds do sing, hey-ding-a-ding ding, cuckoo, jug-jug, pu-wee, ta-witta-woo! And so on and so on and so on. See almost any poet between the Bronze Age and 1805.”

― George Orwell, Keep the Aspidistra Flying


“After the sorts of winters we have had to endure recently, the spring does seem miraculous, because it has become gradually harder and harder to believe that it is actually going to happen. Every February since 1940 I have found myself thinking that this time winter is going to be permanent. But Persephone, like the toads, always rises from the dead at about the same moment. Suddenly, towards the end of March, the miracle happens and the decaying slum in which I live is transfigured.
...

How many a time have I stood watching the toads mating, or a pair of hares having a boxing match in the young corn, and thought of all the important persons who would stop me enjoying this if they could. But luckily they can’t. So long as you are not actually ill, hungry, frightened or immured in a prison or a holiday camp, Spring is still Spring. The atom bombs are piling up in the factories, the police are prowling through the cities, the lies are streaming from the loudspeakers, but the earth is still going round the sun, and neither the dictators nor the bureaucrats, deeply as they disapprove of the process, are able to prevent it.”

― George Orwell, "Some Thoughts on the Common Toad"
 
pidyo

pidyo

New member
Απ' ό,τι καταλαβαίνω, περιττεύει να μιλήσω για το Live at Zografou.

Περιορίζομαι λοιπόν σε ένα από τα τραγουδάκια του δίσκου που δεν έχουν μπει εδώ, την πολύ καλή διασκευή του Woman to Woman του Joe Cocker, το οποίο παραδόξως είναι όντως του Joe Cocker (ήμουν βέβαιος ότι είναι διασκευή).

 
daeman

daeman

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Cassiel's Song (In weiter Ferne, so nah!) - Nick Cave & the Bad Seeds


We've come to bring you home
Haven't we, Cassiel?

To cast aside your loss and all your sadness
And shuffle off that mortal coil and mortal madness
For we're here to pick you up and bring you home
Aren't we, Cassiel?

It's a place where you did not belong
Where time itself was mad and far too strong
Where life leapt up laughing and hit you head on
And hurt you, didn't it hurt you, Cassiel?

While time outran you and trouble flew toward you
And you were there to greet it
Weren't you, foolish Cassiel?

But here we are, we've come to call you home
And here you'll stay, never more to stray
Where you can kick off your boots of clay
Can't you, Cassiel?

For death and you did recklessly collide
And time ran out of you
And you ran out of time
Didn't you, Cassiel?

And all the clocks in all the world
May this once just skip a beat in memory of you
But then again those damn clocks, they probably won't
Will they, Cassiel?

One moment you are there
And then strangely you are gone
But on behalf of us all here
We're glad to have you home
Aren't we, dear Cassiel?
 
daeman

daeman

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Για τα εφτά χρόνια της Λεξιλογίας και τη συνοδευτική φαγούρα:

The Seven Year Itch - Siouxsie & the Banshees



Years after the breakup of Siouxsie and the Banshees, the three core members (Siouxsie Sioux, Steven Severin and Budgie) plus final Banshees guitarist Knox Chandler reunited for an abbreviated tour of the US and the UK in 2002. The Seven Year Itch is a live album composed of performances recorded at London's Shepherd's Bush Empire on 9 and 10 July 2002. Released by Sanctuary Records in 2003 (in CD and DVD formats), both critics and fans praised the tour and album as the Banshees concentrated not on radio hits, but both popular and obscure B-sides and album tracks, many pulled from their early albums.

This release also featured a one-off rendition of The Beatles's "Blue Jay Way" played in the memory of George Harrison, who died in 2001.

The title referred to the fact that the Banshees hadn't played together in seven years before embarking on this final tour of their career. It was also a nod to Billy Wilder's film The Seven Year Itch.
 
daeman

daeman

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Dig, Lazarus, dig!!! - Nick Cave & the Bad Seeds


"Ever since I can remember hearing the Lazarus story, when I was a kid, you know, back in church, I was disturbed and worried by it. Traumatised, actually. We are all, of course, in awe of the greatest of Christ's miracles—raising a man from the dead—but I couldn't help but wonder how Lazarus felt about it. As a child it gave me the creeps, to be honest. I've taken Lazarus and stuck him in New York City, in order to give the song, a hip, contemporary feel. I was also thinking about Harry Houdini who spent a lot of his life trying to debunk the spiritualists who were cashing in on the bereaved. He believed there was nothing going on beyond the grave. He was the second greatest escapologist, Harry was, Lazarus, of course, being the greatest. I wanted to create a kind of vehicle, a medium, for Houdini to speak to us if he so desires, you know, from beyond the grave."

~ Nick Cave
 
daeman

daeman

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Faith - Peter Hammill


Each moment is precious
those that I spend with you are a prize
I count myself lucky just being alive
while you're in my eyes

Seeing's believing and I believe in you
I can't conceal it, just what I feel for you
Seeing's believing, I know that you'll see me through
I believe in you
I have faith in you
I put my faith in you.

Doubt casts its shadow
on every perfect plan that is made
but I'll be beside you through those dark days
I'll be with you come what may.

Seeing's believing and I believe in you
I can't conceal it, just what I feel for you
Seeing's believing, I know that you'll see me through
I believe in you
I have faith in you
I put my faith in you

Don't let me down
now that I've fallen completely for you
Other Old Clichés


I might as well give you all there is,
I might as well take it all the way
what's gone is forgotten, and anyway
surely words alone could not wreck your day?
The cake's not worth the candle, so they say
"Nothing ventured, nothing gained, no hard feelings..."
other old clichés.

I've held back my feelings for so long
while clutching at straws in the caravan
I'll say what I must and take it like a man.
I've fixed my grin, I've raised a laugh
and after the back's been broken by the waiting game
"Mustn't grumble, can't complain, no hard feelings"
other old clichés.

Suddenly I see the scales falling from your eyes
this revelation surely comes as no surprise?
Well, what d'you want? What d'you expect?
What do you say?

Can it really be so predictable?
Now all of the secrets are given away
what words of forgiveness are there left to say?
Hold me now, don't let go
hold me, soon there comes a price I cannot pay
I take the words back straight away:
"I'm so sorry, I didn't mean it"
beg forgiveness, beg and pray
blind self-pity
other old clichés
 
daeman

daeman

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Staff member
,,,
Wir leben immer noch - Nina Hagen


Wir wandern bloss und nackt in die Unendlichkeit
Wir schweben auf dem pfade in die Ewigkeit
Wir glauben was wir wissen und wir fürchten uns
Wohl weil wir sterben müssen das beängstigt uns
Wir sind die Lebenden
Nach Leben strebenden

Jeder neue Tag kann gut und böse sein
Wir stellen unsere Vibrationen selber ein
Und wenn wir morgens früh an unser Ende denken
Dann kann uns dieses wissen durch die Tagzeit lenken
Weil wir leben können
Und uns das sterben gönnen

Wir vegetieren und wir rasen durch die Lebenzeit
Wir verblassen und verpassen die Gelegenheit
Wir haben keine Zeit, tun uns selber leid
Wir vegetieren und wir rasen durch die Lebenzeit

Wir verstecken unsere ängste in der Zwischenzeit
Wir zittern immer noch vor der ver gangenheit
Wir entwickeln uns nicht weiter, weil Erwachsen sein
Uns einzwängt in die zwänge der Gesellschaft
Nein, so wollen wir nicht sein
Oh, nein dass muss nicht sein

we wander pale and naked to infinity
we float along our paths into eternity
believing what we know and filled with awful fear
'cos we know we have to die and it will cost us dear
we're the surviving ones
the living, striving ones

every waking day could be both good and bad
we make it what we want, we can be glad or sad
and when we wake and think upon the coming end
the thought can lead us through the day or round the bend
'cos we can take a breath
or treat ourselves to death

we vegetate or race through this life's stately dance
we fade away and give away our one big chance
we have no time for this, we mourn the things we miss
we vegetate and race through this life's stately dance

we hide away our fears as all our years go by
we tremble as we think upon the times gone by
we don't go any further 'cos to be grown up
means drinking from society's conformist cup
and that's not right you see,
not what we want to be

http://letras.mus.br/nina-hagen/179816/
Click to expand...
 
daeman

daeman

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Every mother's son - Traffic


Tomorrow is my friend
My one and only friend
We travel on together
searching for the end
I'm a travelling soul
And every mother's son
 
daeman

daeman

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All The Things You Could Be By Now If Sigmund Freud's Wife Was Your Mother - Charles Mingus Quartet


Charles Mingus (bass) / Eric Dolphy (alto sax, clarinet) / Ted Curson (trumpet) / Dannie Richmond (drums)
 
daeman

daeman

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Live at the Regal - B.B. King


B.B. King is was not only a timeless singer and guitarist, he's he was also a natural-born entertainer, and on Live at the Regal the listener is treated to an exhibition of all three of his talents. Over percolating horn hits and rolling shuffles, King treats an enthusiastic audience (at some points, they shriek after he delivers each line) to a collection of some of his greatest hits. The backing band is razor-sharp, picking up the leader's cues with almost telepathic accuracy. King's voice is rarely in this fine of form, shifting effortlessly between his falsetto and his regular range, hitting the microphone hard for gritty emphasis and backing off in moments of almost intimate tenderness. Nowhere is this more evident than at the climax of "How Blue Can You Get," where the Chicago venue threatens to explode at King's prompting. Of course, the master's guitar is all over this record, and his playing here is among the best in his long career. Displaying a jazz sensibility, King's lines are sophisticated without losing their grit. More than anything else, Live at the Regal is a textbook example of how to set up a live performance. Talking to the crowd, setting up the tunes with a vignette, King is the consummate entertainer. Live at the Regal is an absolutely necessary acquisition for fans of B.B. King or blues music in general. A high point, perhaps even the high point, for uptown blues.
http://www.allmusic.com/album/live-at-the-regal-mw0000650357

The King is gone, long Live the King!
 
daeman

daeman

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...
The Science of Songs

Everyone knows a hook when they hear one, but scientists don't know why. By playing the #HookedOnMusic game you are exploring the science of songs and helping scientists unlock what makes music catchy.

#HookedonMusic is a citizen science experiment involving Manchester Science Festival, proudly produced by the Museum of Science & Industry, Manchester, in association with the University of Amsterdam. In devising an online game for all to enjoy scientists are harnessing the wisdom of the crowd to understand and quantify the effect of catchiness on musical memory and then predict the catchiest fragments of music. Armed with this knowledge, scientists can devise 'smarter musical thumbnails' to help people remember the content of a song, triggering past memories for those who remember it and helping to form new memories for those listening to the song for the first time. Our scientists, Dr John Ashley Burgoyne and Professor Henkjan Honing from the University of Amsterdam, will analyse the data to unlock the secret of hooks.

The results of the game have the potential to inform and provide insights into what makes music memorable, in particular, what makes music memorable over the long-term and follow up studies could explore whether there are stronger therapeutic effects from choosing catchy music.
How was the music picked per decade?
The top 50 selling tracks from each decade were chosen, sold during that period.

How much music is there in the system?
There are 276 tracks divided into around 1,000 clips so if you pick the "All" category you can play "Recognise that Tune" over a thousand times before hearing everything.
...
I seemed to hear a lot of Beatles tracks?
In the 60s category there are many Beatles tracks since the Beatles dominated the charts in the 60s.
This a citizen science experiment designed to harness the wisdom of the crowd to better understand musical memory and may be used for further research into dementia and Alzheimer's.


Get ready and play Recognise That Tune: http://www.hookedonmusic.org.uk/

Εθιστικό.

The #HookedOnMusic top 10

The results are in. Here are the top 10 catchiest tunes as discovered by all the players of our #HookedOnMusic game:


The 20 Catchiest Songs (in the UK according to this experiment)
 
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