Δαι μουσικές (daeman's tunes)

daeman

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Waiting For Something (1980) - Socrates (Drank the Conium)


Αντώνης Τουρκογιώργης - Φωνή & Ρυθμική Κιθάρα / Γιάννης Σπάθας - Κιθάρα / Γιώργος Ζηκογιάννης - Μπάσο
Παύλος Αλεξίου - Πλήκτρα / Νίκος Αντύπας - Τύμπανα, Κρουστά

1. Mr. W.C. 00:00 / 2. Most People I Know 04:02 / 3. Endless 07:58 / 4. Mountains 11:20 / 5 Lady 18:21
6. Threw The Dice 22:48 / 7. Valley Of Glory 26:59 / 8. Magic Mirror 31:40
 
Τι μου είπανε; έχει καρκίνο ο Morrissey? Αν είναι αλήθεια, εύχομαι να γίνει καλά, ο μοναδικός και ανεπανάληπτος αυτός καλλιτέχνης. Υποχρεωτικά:


και "Fresh lilaced moorland fields / Cannot hide the stolid stench of death":

https://www.youtube.com/watch?v=A9DH0_b3F1c
 
Εύγε!
Τον υπέροχο αυτόν δίσκο τον πρωτοάκουσα να βγαίνει μέσα από ένα μπαράκι καθώς σεργιάνιζα στη Ρούα Μαέστρα της Οίας, ένα σούρουπο, πριν από είκοσι περίπου χρόνια. Το τέλειο σκηνικό...
 

daeman

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Staff member
...
Brasiliana (1979) - Romano Mussolini


Romano Mussolini (26 September 1927 – 3 February 2006) was an Italian jazz pianist, painter and film producer. Although he was the fourth and youngest son of Benito Mussolini, fascist dictator of Italy from 1922 to 1943, he was never involved in politics.

After World War II, he started playing jazz under the assumed name Romano Full and by the mid-1950s, he had formed a trio. Romano Mussolini released a self-titled record (featuring Lilian Terry on vocals and trumpeter Nunzio Rotondo) through RCA Records in 1956. By the 1960s, he had formed the "Romano Mussolini All Stars", which became one of Italy's foremost jazz bands.

The All Stars recorded a well-received record Jazz Allo Studio 7 in 1963 with At the Santa Tecla following a year later. Mussolini's band toured internationally with artists including Dizzy Gillespie, Duke Ellington, Helen Merrill and Chet Baker. In the 1990s, Mussolini recorded two more albums, Perfect Alibi and Soft and Swing. His playing style has been described as "...like a slightly melancholic Oscar Peterson. Occasionally inspired, he was always efficient; he made the refrains run on time."


In 1962, Mussolini married Anna Maria Villani Scicolone, the sister of actress Sophia Loren.


Mirage (1974)


Romano Mussolini - Fender Rhodes / Piero Montanari - electric bass / Roberto Spizzichino - drums
Glauco Masetti - alto sax / Emilio Soana - trumpet / Tullio De Piscopo - percussions

1. The Twitch 00:00 (Duke Ellington) / 2. Omaggio a Oscar Peterson 6:28 / 3. Sweet Elisabeth 12:02
4. Hong Kong 15:50 / 5. Mirage 20:12 / 6. Blues for Alexandra 29:04 / 7. Rachel's Lullaby 34:28
 

daeman

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Yep. That's why I've stopped there, to avoid mixing such political crap with music.

The sins of the fathers should not be visited upon the chlidren, and the sins of the children should not be visited upon the fathers, unless they had something to do with that.

Παπά παιδί, διαόλου εγγόνι. Διαόλου εγγόνι, τριβόλου ταίρι.
 

daeman

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Staff member
...
Out of sight - James Brown & The Famous Flames (TAMI Awards, October 1964)


With The Glimmer Twins watching from the wings, in awe.


Them



The Possessed: James Brown in Eighteen Minutes
David Remnick, The New Yorker, July 30, 2014

Get On Up” is the second-best film ever made about James Brown.

This is not a trifling achievement. For at least the first hour of an overlong bio-pic, it’s fun to see Chadwick Boseman, who recently played Jackie Robinson, in “42,” inhabit the Godfather of Soul’s ineffable soul. It’s fun to watch Boseman in the same way that it was to see Jamie Foxx do Ray Charles, Joaquin Phoenix do Johnny Cash, Cate Blanchett do Bob Dylan, Sissy Spacek do Loretta Lynn, Forest Whitaker do Charlie Parker, and Jimmy Stewart do Glenn Miller.

These are good impersonations, even good performances, but what puts them in the shade is the real thing. And when it comes to James Brown, the real thing, in its most thrilling, compressed, erotic, explosive form, just eighteen minutes long, is also arguably the most electrifying performance in the history of postwar American music. First, watch:


Out of Sight / Prisoner of Love / Please, Please, Please / Night Train - James Brown & The Famous Flames


This was fifty years ago, in October, 1964, a few months after the passage of the Civil Rights Act. Emceed—adorably, cornily—by the rock-and-roll duo Jan and Dean at the Santa Monica Civic Auditorium, the T.A.M.I. show (the Teenage Awards Music International) was a departure from the “Shindig”-style pop programming of the time. The lineup was long and included white acts like Gerry and the Pacemakers, Billy J. Kramer and the Dakotas, the Beach Boys, Lesley Gore, and, as headliners, the Rolling Stones, but it was heavily weighted with black acts of all sorts: Chuck Berry, Marvin Gaye, the Supremes, Smokey Robinson and the Miracles, and James Brown and the Famous Flames.

The Stones had come to the States from England determined to play black R. & B. for a mainly white audience that did not know its Son House from its Howlin’ Wolf. They were already stars, and the T.A.M.I. producers had them scheduled to close the show. James Brown did not approve. “Nobody follows James Brown!” he kept telling the show’s director, Steve Binder. Mick Jagger himself was hesitant. He and Keith Richards were boys from Kent with an unusual obsession with American blues. They knew what Brown could do. In Santa Monica, they watched him from the wings, just twenty feet away, and, as they did, they grew sick with anxiety.
Brown, who had played the Chitlin Circuit for years, was genuinely incensed that the producers would put him on before pallid amateurs (in his mind) like the Stones. His performance, he later admitted, was a cutting contest that he refused to lose. As Brown puts it in his memoir, “James Brown: The Godfather of Soul,” “We did a bunch of songs, nonstop, like always. . . . I don’t think I ever danced so hard in my life, and I don’t think they’d ever seen a man move that fast.” It was a four-song set: the staccato blues number “Out of Sight”; an astonishing inside-out revival of “Prisoner of Love,” which had been recorded by smoothies like Billy Eckstine and Perry Como; the dramatic centerpiece “Please, Please, Please”; and the closer, “Night Train,” which the boxer Sonny Liston would play to get himself going in the gym.

What is there to say? If Astaire’s dancing was the graceful line of black-tie seduction, Brown’s was a paroxysm of sexual frenzy, a blend of Pentecostal possession and erotic release. RJ Smith’s “The One” is the book to read on James Brown. (The Profile to read is Philip Gourevitch’s brilliant “Mr. Brown,” published in 2002, four years before Brown’s death. Two veteran critics, Alan Light and Edna Gundersen, have written interesting pieces on the T.A.M.I. performance.) Smith quotes Brown as saying that the T.A.M.I. performance was the “highest energy” moment of his career: “I danced so hard my manager cried. But I really had to. What I was up against was pop artists—I was R. & B. I had to show ’em the difference, and believe me, it was hard.”

This was the first time that Brown, while singing “Please, Please, Please,” pulled out his “cape act,” in which, in the midst of his own self-induced hysteria, his fit of longing and desire, he drops to his knees, seemingly unable to go on any longer, at the point of collapse, or worse. His backup singers, the Flames, move near, tenderly, as if to revive him, and an offstage aide, Danny Ray, comes on, draping a cape over the great man’s shoulders. Over and over again, Brown recovers, throws off the cape, defies his near-death collapse, goes back into the song, back into the dance, this absolute abandonment to passion.

“It’s a Holiness feeling—like a Baptist thing,” Brown said of the act. “It’s a spiritual-background thing. You’re involved and you don’t want to quit. That’s the definition of soul, you know. Being involved and they try to stop you and you just don’t want to stop. The idea of changing capes came later, ’cause it’s good for show business.” As Smith writes,

“That falling-to-the-knees-overcome-with-emotion dramaturgy is straight out of the Holiness Church, out of a belief system holding, in the charnel heat of the moment, that a person could be overpowered by a sudden tap from the Holy Ghost. Holy Ghost jumpers were what they called those filled with the spirit in the earliest days of Pentecostalism. It was a form of possession, of yielding with glory to a higher force. Many figures in the black Pentecostal tradition wore the cape. There was King Louis Narcisse, a preacher who modeled himself on Daddy Grace. . . . There was Brother Joe May, one of the major gospel voices of the ’50s and ’60s...”

Watching the film, it’s easy to see why Jagger was tempted to stay in his dressing room. This was 1964, and the Stones were not yet fully formed. They still played a mix of originals and covers (Berry’s “Around and Around,” Bobby Womack’s “It’s All Over Now”). Jagger had not quite worked out his peculiar blend of frugging and Satanic posturing. He is hardly Perry Como, but, compared with Brown, he is an anemic thing, a pretender. Nelson George, a sharp writer on race and music and much else, calls out Jagger at the T.A.M.I. show for his “lame funky chicken,” in contrast to Brown’s “proto-moon-walking, athletically daring performance.” Taking the stage after Brown, the Stones are Unitarians making nice:


Around and Around / Off the Hook / Time Is on My Side / It's All Over Now / I'm Alright / Let's Get Together

Richards would eventually say that the very idea of following James Brown was the biggest mistake of the Stones’ careers. “Just go out there and do your best,” Marvin Gaye had told Jagger. And he did. Jagger was never anything but admiring and respectful of James Brown—and he is one of the producers of “Get On Up.”
By all means, see the bio-pic. If nothing else, you’ll glimpse a movie star in Chadwick Boseman and at least the suggestion of an immortal. You’ll see that Brown was an abused and abusive man, as well as a source of radiance onstage. But start with T.A.M.I. (and listen to the “Live at the Apollo” recordings, too). An outfit called Shout! Factory issued a good cleaned-up DVD of the complete T.A.M.I. concert four years ago, and, to hype it, Steve Van Zandt rightly called it “the best rock movie you’ve never seen.” But the somewhat grainy eighteen minutes on YouTube will do you just fine. You’ll feel good. You’ll feel nice.

The T.A.M.I. Show, 1964

 
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daeman

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Paul Butterfield's Better Days



Paul Butterfield - Vocals, electric piano & harp / Ronnie Barron - Organ, piano & electric piano
Geoff Muldaur - Guitar, slide guitar, piano & vocals / Amos Garett - Guitar / Billy Rich - Bass / Christopher Parker - Drums

Produced by Paul Butterfield & Geoff Muldaur

1. New Walkin' Blues (Robert Johnson) 0:00 / 2. Please Send Me Someone To Love (Percy Mayfield) 4:53
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.

www.allmusic.com/album/paul-butterfields-better-days-mw0000312871
 

daeman

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Πίνω κρασί και δε μεθώ - Ρος Ντέιλι + Σπυριδούλα Τουτουδάκη + Βασίλης Σταυρακάκης


Πίνω κρασί και δε μεθώ
ρακή και δε με πιάνει
μόνο το μπρούσκο του σεβντά
στην όρεξη με βγάνει

Δος μου τς αγάπης σου νερό
να λούσω την καρδιά μου
γιατί τηνε γαριώσανε
οι στεναγμοί, κερά μου


Πάντα καθίζω σα σε δώ, για δε μπορώ να στέκω
φως μου, το γιαντιλίκι σου και πώς θα το παλέψω

Να σε φιλήσω θέλω γω 'πό κάτω στο πιγούνι
εκειά που παίζει και χτυπά του τράγου το κουδούνι

Αγάπη δεν εγάτεχα, γιατί ήμουνα κοπέλι
μα δα που τη δοκίμασα γλυκιά 'ναι σαν το μέλι

Άρχιξε πάλι ο ποταμός θολός και κατεβαίνει
άρχιξε κι η αγάπη σου και στο κορμί μου μπαίνει

Το νάζι τση μελαχρινής η άσπρη δεν το κάνει
εκτός αν βάλει κόκκινο ή βυσσινί φουστάνι


Πίνω κρασί και δε μεθώ, ρακή και δε με πιάνει
Γιατί σαν ήμουνα μικιός ήπεσα στο καζάνι
 

daeman

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Staff member
...
Got to move - Elmore James



(You) Got to move - Peter Green's Fleetwood Mac



(I) Got to Move - Peter Green's Fleetwood Mac

 

daeman

Administrator
Staff member
...
Βουνό με βουνό δε σμίγει (1946) - Μανώλης Χιώτης & Στελλάκης Περπινιάδης


Ένα μήνα σ' έχω χάσει, βρε μπαμπέσα
κι όποιο κέντρο και να ιδώ μπουκάρω μέσα
θα σε βρω, πού θα μου πας, κι αν έχεις φύγει
το βουνό με το βουνό μόνο δε σμίγει

Τι σου φταίω κάθε βράδυ κι είμαι σούρα
και οι φίλοι να μου κάνουνε καζούρα
να μου λένε θα τη βρεις κι αν έχει φύγει
το βουνό με το βουνό ποτέ δε σμίγει


Το βουνό - Alan Dalon


Σωτήρης Αλεξάκης: κιθάρα, τραγούδι / Βαγγελιώ Φασουλάκη: τραγούδι / Νίκος Βέργος: κιθάρα

Κι αν τυχόν κάποια βραδιά και σε τρακάρω
να το ξέρεις, με το ζόρι θα σε πάρω
σαν σε σκέφτομαι με πιάνουν κάτι ρίγη
Το βουνό με το βουνό μόνο δε σμίγει
 

Averell

New member
Ευχαριστώ!

...
Βουνό με βουνό δε σμίγει (1946) - Μανώλης Χιώτης & Στελλάκης Περπινιάδης

...

Ένα μήνα σ' έχω χάσει, βρε μπαμπέσα
κι όποιο κέντρο και να ιδώ μπουκάρω μέσα
θα σε βρω, πού θα μου πας, κι αν έχεις φύγει
το βουνό με το βουνό μόνο δε σμίγει

Τι σου φταίω κάθε βράδυ κι είμαι σούρα
και οι φίλοι να μου κάνουνε καζούρα
να μου λένε θα τη βρεις κι αν έχει φύγει
το βουνό με το βουνό ποτέ δε σμίγει


Το βουνό - Alan Dalon

...

Σωτήρης Αλεξάκης: κιθάρα, τραγούδι / Βαγγελιώ Φασουλάκη: τραγούδι / Νίκος Βέργος: κιθάρα

Κι αν τυχόν κάποια βραδιά και σε τρακάρω
να το ξέρεις, με το ζόρι θα σε πάρω
σαν σε σκέφτομαι με πιάνουν κάτι ρίγη
Το βουνό με το βουνό μόνο δε σμίγει

Τέλειο, φίλε! Πού να το ήξερες αναρτώντας το ότι μου έκανες και χάρη... Είχα ακούσει το cover στο ραδιόφωνο και το έψαχνα αλλά δεν το είχα εντοπίσει... Πολλά ευχαριστώ!
 

Averell

New member
...Ίσως όμως και να μην ήταν δικό τους το cover που άκουσα στο ραδιόφωνο... Δε βλέπω να έχουν ακόμα δισκογραφία...
 

daeman

Administrator
Staff member
Τέλειο, φίλε! Πού να το ήξερες αναρτώντας το ότι μου έκανες και χάρη... Είχα ακούσει το cover στο ραδιόφωνο και το έψαχνα αλλά δεν το είχα εντοπίσει... Πολλά ευχαριστώ!

Μπορεί να μην το ήξερα, αλλά γι' αυτό τα ποστάρω, για τη χάρη τους. Κι αν αυτή η χάρη δώσει χαρά σε κάποιον, τότε εκπληρώνουν το σκοπό τους. Γι' αυτό ευχαριστώ κι εγώ. :-)

Με την ευκαιρία, μπορεί να σου αρέσουν και αυτά τα Χιώτικα, ο Σωτήρης Αλεξάκης με τον Γιάννη Παξιμαδάκη κι έναν παλιόφιλο (που πολλές φορές έχει τύχει να τραγουδήσουμε μαζί σε γλέντια μέχρι τελικής πτώσης, ανάτασης κι Ανάστασης, μεθυσμένοι κι αμέθυστοι, μα πάντα μεθυστικοί :p), τον Στέφανο Κουρουπάκη, εις εξοχικήν τοποθεσίαν κάπου στην Κρήτη (όπως οι Alan Dalon, εκεί παίζουν και αυτοί, με λημέρι το Ηράκλειο και γύρες, πολλές γύρες):

Αφού το θες / Λαός και Κολωνάκι / Παρτίδες - Trio Le



...Ίσως όμως και να μην ήταν δικό τους το cover που άκουσα στο ραδιόφωνο... Δε βλέπω να έχουν ακόμα δισκογραφία...

Σκέψου όμως ότι πάει πια η ανάγκη για ηχογράφηση σε βινύλιο ή για ντέμο δισκάκια, τα σινγκλ έγιναν ψηφιακά κι ένας σταθμός μπορεί να εκπέμψει από όποια πηγή ήχου βρει εύκαιρη.
 
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