Here are some of my current inspirations/obsessions/whatevers.

1.) Otis Redding (of course I had to include Ducky’s infamous “Try a Little Tenderness” performance)

2.) King of Queens….random, I know, but I watched it over break and it is surprisingly hilarious! Oh, Kevin James.

3.) The world’s first underwater restaurant in the Maldives!!

4.) Zach Condon of Beirut

5.) These amazing tattoo tights!! (via Marissa Explains It All)

6.) Reading (in the middle of Vonnegut’s “God Bless You, Dr. Kevorkian”).

(via Ache)

7.) This picture of Courtney Love and Kurt Cobain

Time for some homework!! Until next time!

Amoria dont nous avions réalisé l’interview en août 2008 sera présent en concert ce vendredi au Jazz Club. Soyez nombreux à les soutenir!!!

Vous pouvez écouter un de leur titre “Miss Grumpy” sur leur myspace: www.myspace.com/amoriamusic

Amoria est aussi présente sur la Bande originale du film “Coco” avec Gad Elmaley.

Well.

Been AWOL for a while, but I now return with another entry in my ever expanding cache of pointless lists that nobody asked for.

Recently I was involved in a discussion about cover songs. No, I don’t know why. The point is, it spawned this little ditty -

The Top Ten Cover Songs You Probably Didn’t Even Realize Were Cover Songs.

It really is exactly what it says.

Ten: “The Man Who Sold the World.” (Nirvana)

I almost hate to admit it, but I think I genuinely prefer Nirvana’s live, unplugged version of this song to David Bowie’s 1970 original album version. While such a statement may seem somewhat blasphemous, in Nirvana’s defense I heard their version first – and, to add insult to injury, it’s really good. I suppose that your enjoyment of this song, like most on this list, simply boils down to when you were born, or when you first heard it. If you’re a child of the ’70s, you’ll probably prefer Bowie’s version. If, however, you are a child of the glorious ’90s, you’ll probably go for Kurt’s take on it. Regardless, the irony of the situation does not seem lost on Bowie himself. Thanks to Cobain covering it, even to this day when Bowie performs the song himself he comes across “kids that come up afterwards and say, ‘It’s cool you’re doing a Nirvana song.’ And I think, ‘Fuck you, you little tosser!’”

I think even Kurt Cobain could get behind that one. And he wasn’t really known for shooting off his mouth. (Just the area above it.)

Nine: “Black Magic Woman.” (Santana)

I honestly was not aware, literally up to this very moment, that this was originally a Fleetwood Mac song. Peter Green wrote it in 1968; Santana made it a hit in 1970. Better luck next time, Peter Green. Well, at least you still have Fleetwood Mac who I’m sure is going to be huge andOH YOU QUIT THE BAND.

BTW…who the fuck is Peter Green?

Eight: “Mr. Tambourine Man.” (The Byrds)

Bob Dylan is probably one of the most covered artists of all time. I say “probably” because I don’t know for sure and I’m too lazy to look it up. But rest assured, he’s gotta be, like, top twelve at least. Anyways, this is another instance of a song taking me by surprise. I’m sure more people are familiar with the Byrd’s trippy version of this song than Dylan’s original – myself included. Either version is solid, though – in fact, it has the (meaningless) honor of being only one of three songs to be included twice on Rolling Stones list of the 500 Greatest Songs. Not too shabby for a song about tambourines that (at least in Dylan’s version) doesn’t include any tambourineing.

Seven: “Lovers in a Dangerous Time.” (The Barenaked Ladies)

Little bit of Canadian content for y’all.

The Barenaked Ladies are a strange beast. They’re all fairly talented musicians who can write a hook filled pop masterpiece seemingly whenever they want to. It’s usually combined with bizarre to nonsensical lyrics that range from obscure pop culture references, to abstract fragments, to genuinely insightful commentary – all the while being either rapped by Ed Robertson or operatically sung by Steven Page with gleeful abandon.

Occasionally, they have curbed their wackier tendencies to produce something much more subdued and restrained, which can at times border on being fully beautiful.

Like their cover of this Bruce Cockburn song. After it’s release in 1991 (fittingly for a Cockburn tribute album) it became a Canadian radio staple – a certifiable hit for the band. Even now it continues to crop up on the radio from time to time, though you rarely – if ever – hear Cockburn’s original.

Six: “No More I Love Yous” (Annie Lennox)

This song easily could have made my Thirteen Guilty Pleasure Songs You Hate to Love. (Or Love to Hate) list as well. But it didn’t, and luckily it’s found itself a new avenue for infamy on my blog as being a catchy as hell song we all instantly recognize as an Annie Lennox ditty, but was in fact originally written and performed by some band called “The Lover Speaks.” No, I’ve never heard of them either, and when I type the name into Google image search, a confusing array of pictures, none of which features anything remotely similar to a band, comes up. So apparently even the internet has forgotten about them as well.

I think that what I’m trying to say is, cover though it may be…I think Annie’s pretty much got a monopoly on this song. Good for her!

Five: “Downtown Train.” (Rod Stewart)

Rod Stewart covers Tom Waits. There’s something funny to be said here, but I honestly don’t know what it is.

No, not funny – weird.

The Stewart song is the radio friendly one; the Waits version is the “good” one. In fact, if there ever comes a time when you’re contemplating downloading or buy Rod Stewart’s entire discography, I urge you to just download Wait’s 1985 masterpiece Rain Dogs instead. You can thank me later.

Four: “Hallelujah.” (Jeff Buckley)

Now, to be fair, I think people are about as aware of the Buckley version of this beautiful song as they are of the Leonard Cohen original. Both versions are excellent, by the way – thanks to Cohen’s poetic lyrics and simple, yet evocative melody. But it will forever be associated with Buckley – partly due to his untimely and tragic death, and partly do to his stunning and haunting arrangement of it. Cohen wrote a classic, artistic ballad; Jeff Buckley perfected it.

Three: “Nothing Compares 2 U.” (Sinead O’Connor)

I had no idea this was originally a Prince song. I suppose the number “2″ and the letter “u” in the title should have helped tip me off, but it didn’t. I truly thought this was an original song by Sinead. And, after hearing Prince’s version, I’d like to continue thinking that, please.

Incidentally, this song title was the inspiration behind U2’s name.

No it wasn’t.

Two: “Respect.” (Aretha Franklin)

“Respect” is to Aretha Franklin what “Nothing Compares 2 U” is to Sinead O’Connor – a signature song. A song that we immediately identify with these artists, and, when thinking about these artists, it’s usually the first one that pops into our noggins’. It seems odd then, that both these womens signature songs should be covers. I don’t really know what that says about them, except that they both totally own these tunes. Otis Redding may have been the first to spell out the word “respect” for mass audiences, but it was tailor made for the Queen of Soul. I’ve never heard Otis Redding’s version of the song, and have no need to; no one could possibly come close to matching Aretha.

One: “All Along the Watchtower.” (Jimi Hendrix)

Dylan’s was good. HIS was better.

From the iconic opening guitar riff, to the whacked out solo, this is the definitive version of Bob Dylan’s tune. It’s been covered countless times since, but Jimi’s 1968 version remains the one to top. It’s a song that makes people go “REALLY?” whenever somebody mentions that it’s not a Hendrix track, but one of Dylan’s.

Which I think perfectly sums up just what this list is all about.

Well.

There were a few more songs that I came across that would have fit this list, but I tried to wittle it down to the best ten. Feel free to tell me what I missed and mock my attempt in general below.

So, until tomorrow, enjoy some Annie Lennox.

And you damn well know you will.

Doo doo doo doo doo doo…WHOA OH.

Tom Dowd was a brilliant mathematician and physicist who changed careers abruptly after the development of the atomic bomb and changed the course of musical history. He is responsible for Ray Charles, Aretha Franklin, Otis Redding, John Coltrane, Dizzy Gillespie, Thelonius Monk, Cream, Rod Stewart, Lynyrd Skynyrd, The Allman Brothers Band, Dusty Springfield and countless other celebrated musicians. Dowd also formed both strong professional and personal relationships with many of these artists, including Eric Clapton, starting with Cream and leading to their working partnership on Layla and Other Assorted Loves Songs and collaborations on several of Clapton’s finest solo albums. So much of the music i love was produced by him, and yet he was man behind the curtain. Even being responsible for so much of musical history, he, like Geoff Emerick before him, was paid only scale and was never compensated commensurate to the contribution he made to history. See http://www.thelanguageofmusic.com/

Top Artists on Smithylad's Last.FM for the last week

Notes:
Beautiful Angel Birthday Boy is a project I’m working on
Jim Littlewood is a friend of mine, and a fantastic song-writer.

} Começo da semana é sempre melhor para dar o ar da graça em qualquerlugar em São Paulo.  Não tem muita gente “desesperada” por uma bebida no balcão, e nem mesmo filas gigantescas, sem falar que o público é mais seletivo, afinal não é todo mundo que consegue começar a semana batendo pernas.

Nós encontramos 3 bares com entrada gratuita para hoje. Você precisa apenas escolher o seu e se jogar!

Para começar a terça-feira bem que tal um som de Bossa Nova com Bruno Morais @ Studio SP ?

____________________________________________________________________________

} Você gosta de Soul e também está na onda de sair de casa hoje? O bar VOLT apresentará a  2 ° edição da festa Soul Glow, assinada pela agitadora cultural Flávia Durante. Com o lema “new music, old soul”, o projeto tem como sonoridades principais o soul, o funk e grooves e conta com discotecagem da própria Flávia e do DJ Benjamin Ferreira. Os convidados da noite são os jornalistas Pedro Henrique Araújo e Marcos Lauro, que formam o duo Sambarbudo. A vitrola de da festa conta com Otis Redding, James Brown, Sam & Dave, Carla Thomas, The Ronettes, Shirley Ellis, Ike & Tina Turner, Wilson Simonal e Erlon Chaves.

__________________________________________________________________________

} Thiago Ney, crítico de música da Folha de S. Paulo, convida  o DJ Sylvain Justum e Augusto Mariotti. Justum é jornalista e stylist. Mariotti é produtor do São Paulo Fashion Week. O som que rola vai de electro ao bom rock´n´roll .

Recieved a lst minute invite to the concert and what a magical event it was. The biggest thing that sticks out about the concert is that it’s a family event. His family created this to honor his legacy which says scores for the type of person he was. That is true greatness, and that is the greatness I want to leave in the world after I leave, Lord willing. He is a genius of music, but the fact that he was acknowledged by different generations of artists and fans (I’m 26 and there were people in attendance younger than me..though I hope for the same reason but I digress) which shows the type of famy values he and his wife enstilled within his kids. It’s so sad to say this, but Dr.Martin Luther King, one of the greatest people of history, hasn’t been honored in the same way. Now his national holiday is nothing to sneeze at, along with his Nobel Peace Prize, but your FAMILY hasn’t done anything to that degree, or maybe they have i just hadn’t seen it, and if I am wrong please correct me!
But again I digress greatly, the night was magical, it re-energized my drive for what I am working for, and it’s a event I hope more people attend next year

Sam Cooke

Se un cantante non canta dall’anima, non voglio nemmeno ascoltarlo – non fa per me. Sam Cooke era immerso profondamente in puro soul. Aveva l’abilità rara di fare gospel nel modo in cui si suppone che venga fatto – lo rendeva chiaro, pulito, diretto. Il gospel ha portato Sam Cooke attraverso le sue canzoni più belle, allo stesso modo in cui l’ha fatto per Ray Charles, che era arrivato per primo, e Otis Redding.
Aveva una voce incomparabile. Sam Cooke poteva cantare qualsiasi cosa e farla funzionare. Ma quando si parla della sua forza come cantante l’estensione vocale non è rilevante. Era la sua capacità di trasmettere – era il suo fraseggio, la totalità del suo canto.
Ha fatto moltissime grandi canzoni, ma “Bring It on Home to Me” è una delle mie preferite. È una canzone ben costruita con un grande testo e melodia. È una canzone scritta per permetterti di andare dove riesci. “A Change Is Gonna Come” è un’altra cover che ho fatto; è un grande arrangiamento.
Non molte persone possono ancora suonare queste cose, non nel modo in cui l’ha fatto Sam Cooke, uscendo direttamente dalla chiesa. Che cosa possiamo imparare da un cantante come lui, dall’ascolto di canzoni come “A Change Is Gonna Come”? Dipende da chi è il cantante e da che cosa è capace di fare, da dov’è la sua testa e da quanto è serio. Ma Sam Cooke era nato per cantare.

di Van Morrison

Trust: Photographs of Jim Marshall

Omnibus Press, ISBN: 9781847726490, Price: $29.95, Height:12″, Width:10″, Pages:168, Binding: Hardback, Publication Date: Sept 1, 2009,   ISBN-10: 1847721109 ISBN-13: 978-1847721105, $34.95  Available here from amazon.com.

My heroes aren’t musicians or photographers but writers like the late Jack Kerouac and Richard Brautigan. There is an exuberance in their work that I also find in this “must have” coffee-table book of Jim Marshall classics. His work is not the hype but the genuineness of such geniuses as Otis Redding, Janis Jopplin, Miles Davis, John Coltrain, Mick Jagger, Joan Baez, the original Weavers, Bob Dylan, The Rolling Stones and just about any other top music performer from the fifties to the turn of the century. We’ve embraced their myths, but forgotten their humanity—at least until now.

Sure there is Jimi Hendirx burning his guitar and Bobby Dylan rolling a tire, but look at the tenderness in Odetta’s gaze as she embraces Elizabeth Cotton backstage at the Berkeley Folk Festival (Odetta had been all but forgotten working as a domestic for a long time until she was rediscovered). Or Johnny Cash’s thoughtful stride going into Folsom Prison in 1968 to do a recording his record company, Columbia, didn’t want him to do. Marshall recounts, “They weren’t expecting any trouble but they had armed guards up in the towers… Not all the men would have been Johnny Cash fans before but by the end they certainly were. If Johnny would’ve said follow me out of here to the prisoners, they would have followed him out.”

There’s the shot of  Miles Davis taking a call at a phone booth in the middle of a work-out; he cradles the receiver in a boxing glove. A young Aretha Franklin looking like a girl on a first date. A shirtless Frank Zappa looking like someone’s brother. I like Marshall’s Introduction and the little verbal sidelights he provides that put the pictures in context. There are a few surprises. Did you know that Harry Dean Stanton has a great voice? He and Willie Nelson played a half hour show together for the crew on the set of the Big Bounce with Owen Wilson.

Marshall likes to come across as a tough dude (“I worked hard but I never really considered it work. I always enjoyed myself and only did it if I had complete control and access. My reputation was such that managers didn’t, and don’t fuck with me.”), but he has a real sense of what makes photography work. As Jason Fine, Executive Editor  of Rolling Stone Magazine, adds in his Afterward to the book, “What comes across is a deep empathy for the musicians he photographed with an ability to capture their pride and sense of purpose.” Jim Marshall: “I love all these musicians—they’re like family. Looking back, I realize I was there at the beginning of something special.”

There is no trick angles, no cropping, no Photoshop manipulated imagery. This is like a family album of our pop culture, where we study the pictures looking for what was to come in faces pure and full of dreams. As the poet Richard Brautigan wrote, “we stopped at perfect days / and got out of the car.” – John Lehman

Awesome.

Since I’m a bit under the weather, it’s always nice to get quality stuff in the inbox.

Here’s the second mix from the Sunshine State’s honorable DJ/ turntablist Matt Cali and the Empire State’s musical mastermind/graphic designer Russel Fong, aptly dubbed Sample Junkies due to its nostalgic feel. It’s invigorating, really.

Sample Junkies is a three-part compilation of classic hip-hop samples and breaks mixed fluidly by Cali. Fong has chosen the music of Isaac Hayes, Otis Redding, Gladys Knight & the Pips, The Dells, David Porter, The Charmels, Michel Gonet, Menahan Street Band, The Jackson 5, Ramp, Ramon Morris, Esther Bryde, 9th Creations, Monk Higgins, Sting, Smilin Billy Suite, Screamin Jay Hawkins, Aretha Franklin, Jack Mayborn,Roy Ayers plus plenty more to serve as the soundtrack to your trip back in time.

I’ve praised the effort of this dope duo before, so expect this mix to impress once again. No track list necessary. True sample heads, this is what you’re fiendin’ for.

Shout to the good homie Matt himself for hooking this up. Spin this tonight and reminisce, Enjoy!

Download: Russell Fong & DJ Matt Cali – Sample Junkies

I’m using this song to illustrate what I thought about the Jackson memorial documentary, This is It. It’s also the last song that Jackson sings at the end of the documentary before his dancers, singers, band and handlers. Instead of the crowds in London, we have become his audience. His final audience.

Remember, this was essentially 110 hours of rehearsals molded into two hours. The rehearsal footage was shot at the place where Jackson was memorialized: The Staples Center. Jackson never intended this footage to be used in any film; it would have been for his own use. Jackson’s purported physical weaknesses are sanitized out. Jackson is going through the movements of what he would do on stage in London. And like with most rehearsals, he’s trying not to attempt much. He’s feeling his way through his material: about what he could do and what he couldn’t do. And with arthritis in his spine and other maladies, he’s not the same as he was before. The dancers and the singers behind him who revere him and who cannot believe their good are exerting themselves as much as possible. They are dancing and singing for the King–and as extensions of himself. The dancers are all about a little over a quarter of a century younger than he. The singers are about that age and a little older. The band are musicians who have been with Jackson for quite a while, with a couple of newer faces. They can be themselves. But the singers and dancers very much try to reflect Michael as he was in his second fame: young, fresh, seemingly indestructible, and enthusiastic.

I’ve been to one rehearsal concert in my life, and that was for the late singer Frankie Laine in New Orleans. Yep, the same guy whose voice graced some 1950s Technicolor Westerns, like Gunfight at the O.K. Corral and Blazing Saddles, and TV Westerns like Rawhide. He needed an audience, and we black Catholic school kids were sent, during summer school, to be his audience. I don’t know how we seventh and eighth graders–13 and 14 year olds–managed to keep still. We were dressed up, and I vaguely remember that it was a large supper club, and we were fed for free. I’m sure we would have preferred seeing Otis Redding, or The Esquires, or The Fantastic Johnny C.

Laine ran through his then-current repertoire; corrected himself in mid-flight, sang songs twice, and we applauded every one he did, no matter what it was and whether we knew them at all. We were a largely uncritical audience. In some way, that’s what the movie audience is expected to do with Michael Jackson’s performance, to applaud him even though he is working a concert that was never given. It seems as if the best he has to offer us is what might have been, if… I could have written, if he hadn’t died. But that’s not quite true. Would he have finished those 50 shows with the same kind of professionalism, and the marshaling of his powers he shows here? Would the concerts have collapsed under the strain of his multiple physical and emotional problems? I don’t know. We don’t know.

If anything, I believe got what I was looking for, Michael’s process as a performer. No, it wasn’t the pyrotechnics, the special effects, the large spider prop. It was how he spoke to and negotiated with his band, Kenny Ortega, his dancers. How Ortega told him to be careful not to lean forward on the cherry picker. It wasn’t, for example, like following Gene Kelly around on the old NBC Omnibus show, Dancing Is a Man’s Game, which gave viewers and fans a clue to what drove Kelly and his brand of dancing, and why he wanted to show that dancing wasn’t an effete profession. It was, however, one depiction of how Michael put himself together.

And no, I don’t buy the crap that it was a body double out there doing the dancing. It was Michael Jackson. Believe that.

There were times, though, that I wondered about him. When he’s doing a tribute to his parents and his brothers…he’s not wanting to give it up. He says that he’s having problems with his earphones or something, but I don’t buy it. Either he’s not feeling it, or he doesn’t want to do it. It just made me think, umph, umph, umph, where are you really at, dude?…

I also hated the Joan Crawford-like jacket he wore in some of the scenes, the one with the high, but pointed shoulder pads. Perhaps it was made to make him look like a living guitar or something, but I hated it. It made me roll back to the police photos of Michael when he was arrested a second time for abusing a child, where he indeed appeared like Joan Crawford, that weird, abusive, and unhappy woman. No doubt, Michael was the kind of creative individual who transcended not only race but sexuality, but him in that jacket just made me enjoy the film less.

The This is It soundtrack is indeed a killer. From Wiki:

On September 23, 2009, information on and about the album were released. The album, titled This Is It was released internationally on October 26, and to North America the following day. The two-disc album features music ‘inspired from the documentary of the same name’. Sony said of the albums that: “Disc one will feature the original album masters of some of Michael’s biggest hits arranged in the same sequence as they appear in the film” and stated that the “the disc ends with two versions of the ‘never-released’ ‘This Is It’ [...] This song is featured in the film’s closing sequence and includes backing vocals by Michael [Jackson]’s brothers, the Jacksons.” Sony also stated that the second disc will feature “previously unreleased versions” from Jackson’s ‘catalogue of hits’ and that It will also include a spoken word poem entitled “Planet Earth” (which orginally appeared in the liner notes of the Dangerous album) and a 36-page commemorative booklet with “exclusive photos of Michael [Jackson] from his last rehearsal”. On October 9, Sony confirmed the songs that will appear on the album. A record label source said of This Is It – a song featured on the album: “It (the song) sounds awesome. The size and scope of the orchestra hasn’t been seen since Ray Charles recorded Georgia. Everyone expects a huge hit” and described the song as being “set to be a huge hit” but stated of the song’s secrecy that “they’re worried about it getting out [..] they’ve hired huge bodyguards to stand by the [music] studio['s] door.” Rolling Stone stated that This Is It was recorded during the sessions for Jackson’s 1991 album Dangerous.

I may get that, and two others one of these days.

Don’t get me wrong. See it to say goodbye to him. See it for your own reasons. I’m a fan, but then I am not. I’m wanting to look at him, and then study him, and take my own measure of him. You see, I saw him once before at the old Circle Star Theatre in San Carlos with his family. That’s when he still had his nose and his color and when he was still in stasis, putting it all together for that big break. That’s probably the memory I will keep most of all of this black king, The King of Pop. Not his end, but his beginning.

Words by WMSE DJ Andy Turner of Zero Hour

Ahhhhh, Halloween, such a lovely celebration of all that is goofy and trashy. Devilish and scary, too? Sometimes.  Boozy? Yes, please. But for me, the season is most of all an excuse to play a lot of fun, twisted songs, many of which were recorded decades ago. Below I have listed a few of my favorites.

I host WMSE’s Zero Hour on Tuesday nights/Wednesday mornings from midnight to 3 a.m. Music from independent labels is the focus of the show, and I think I make a reasonable attempt at spanning the genres, with a nod toward spastic. For this week’s pledge drive show, I’m planning on going all-Halloween, so you can hear many of these songs and other demented ditties if you tune in – and why not pledge while you’re there?

“Haunted House,” Johnny Fuller: Recorded by many over the years, including Sam the Sham and the Pharaohs, Hasil Adkins and most recently John Fogerty, Fuller’s original for Specialty Records is the grooviest.

“The Witch,” The Sonics or “She’s My Witch,” Kip Tyler & The Flips:  Depending on whether you want to burn fast or slow, you win either way.

“I Was a Teenage Werewolf,” The Cramps:  Raise a glass of the good stuff to lead singer Lux Interior, who passed away February 4th.

“Halloween,” The Dream Syndicate: Your chance to trick-or-treat in the Paisley Underground. Bring your own jangle.

“Gonna Raise Hell,” Cheap Trick:  Used to hell-raising perfection in the Freaks & Geeks Halloween episode, a seasonal favorite in my household.

“Rockin’ in the Graveyard,” Jackie Morningstar: Issued by the Mobile, Alabama, indie label Sandy Records in April 1959. More fun than a bucket of candy corn.

“Night of the Sadist,” Larry & The Blue Notes:  Also available as “Night of the Phantom” if Sadist is gonna keep you up at night.

“Bo Meets the Monster,” Bo Diddley:  When you want to give the very best, give Bo.

“Morgus the Magnificent,” Morgus & The Ghouls:  Dr. John’s 1959 tribute to a New Orleans monster movie TV host.

“Trick or Treat,” Otis Redding:  The Big O is going for Halloween as the man wise to your little games, honey.

For additional audio and visual Halloween pleasures, check out WFMU’s Rock and Soul Ichiban with daily Halloween downloads and Seven Corpse Dinner, an excellently evil compilation compiled by Rex, host of the vintage R&B and rockabilly show Fool’s Paradise.  There’s also The Devil’s Music, Monster Movie Music, Spread the Good Word, Jukeboxmafia, and an archive post from last year from the Hound (an always worthy web destination) that’s chock full of Halloween-inspired madness.

Zero Hour with Andy airs on 91.7 FM, WMSE every Wednesday from 12 a.m. – 3 p.m. Check out past shows in the WMSE archives.

Ready, Steady, Go! Otis Redding Special Pt. 1

Ready, Steady, Go! Otis Redding Special Pt. 2

RSG! Otis Redding Special (1966) – [Part 2 of 2]

Ready, Steady, Go! Otis Redding Special Pt. 3

Ready, Steady, Go! Otis Redding Special Pt. 4

Otis Redding–My Girl

Otis Redding & The Pinetoppers – Fat Girl

Otis Redding – Pain in my heart

Can’t Turn You Loose – Otis Redding

Otis Redding – Hard To Handle

Otis Redding – Try A Little Tenderness

Otis Redding live – Satisfaction

These Arms Of Mine Otis Redding (***Lyrics Included***) .:oldies:.

Otis Redding – Glory of Love

Otis Redding ~ Love Man

Otis Redding (live) @ Monterey, 1967. Part 1 of 3

Otis Redding live @ Monterey, Part 2 of 3

Otis Redding live @ Monterey, Part 3 of 3

OTIS REDDING UNDER THE BOARDWALK #34

Otis Redding-Sitting on the dock of the bay

“Sitting in the morning sun, I’ll be sitting when the evening comes”- Otis Redding

Background Articles and Videos

Otis Redding

“…Otis Ray Redding, Jr. (September 9, 1941 – December 10, 1967) was an American soul singer. Often called the “King of Soul”, he is renowned for an ability to convey strong emotion through his voice.^[1][2] According to the website of the Rock and Roll Hall of Fame (where he was inducted in 1989), Redding’s name is “synonymous with the term soul, music that arose out of the black experience in America through the transmutation of gospel and rhythm and blues into a form of funky, secular testifying.”^[3] In addition, rock critic Jon Landau said in 1967 that ‘”Otis Redding is rock & roll”.^[4] Redding died in a plane crash at the age of 26, one month before his biggest hit, “(Sittin’ On) The Dock of the Bay”, was released….”

http://en.wikipedia.org/wiki/Otis_Redding

Otis Redding

http://www.otisredding.com/

Otis Redding

“…

Otis Redding – Love Man (Teaching Dirty Dancing)

http://www.youtube.com/watch?v=46F3rJek_WE

Otis Redding – These arms of mine (Road House)

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Village People–Videos

Hayley Westenra–Videos 

Tammy Wynette–Videos

I can’t really add anything to this.

No primeiro grande festival de rock do mundo, e que reunia Jimi Hendrix (Em seu primeiro show nos Estados Unidos), The Who, Janis Joplin… O maior show da noite foi de um negão americano que tocava Soul, era ídolo entre os mods da inglaterra e totalmente ignorado em seu pais. Estou falando do festival de Monterey e da lenda do Soul Otis Redding. E não é exagero nenhum, meus amigos! Olhem o que Brian Jones andou dizendo por aí: Nem por 1 milhão de libras subiria no palco depois de Otis Redding!

Otis Redding Morreu muito novo, aos 26 anos, em uma porra de um acidente de avião que junto com ele, levou três integrantes do Bar-Kays. Redding deixou pela metade o album que segundo ele, seria o “Sgt Peppers” do Soul, se chamaria The Dock of the Bay e seria lançando depois de sua morte junto como uma compilação de musicas de 1956 e 1967, acrescidas de algumas novas e do sucesso póstumo (Sittin’ On) the Dock of the Bay.

Sem duvida alguma, Otis Redding está na mesma prateleira que os monstros James Brown, Al Green e Sam Cooke. Eu diaria até que ele está um patama a cima, mas deixemos esses pretos no mesmo lugar. É difícil encontrar alguém que ainda não ouviu falar em Otis Redding, mas infelizmente às vezes ainda encontro em algumas mesas de bar algumas pessoas que vêm querer falar de soul, mas conhecem o negão mais aloprado do soul. Fico indignado, mando o cara baixar alguns discos do Otis e depois sair por aí falando de soul. E pra facilitar o trabalho desse povo, resolvi upar aqui no blog o maior clássico dele: Otis Blue.

O disco vem com a classica Respect regravada por Aretha Franklin, com as lindissimas Ole Man Trouble e I’ve Been Loving You Too Long, com covers fudidos de Change Is Gonna Come e Shake de Sam Cooke, e ainda tem uma versão porrada para I Can’t Get No, que começa com um ataque violento de metais na introdução.

01. Ole Man Trouble
02. Respect
03. A Change Is Gonna Come
04. Down in the Valley
05. I’ve Been Loving You Too Long

06. Shake
07. My Girl
08. Wonderful World
09. Rock Me Baby
10. Satisfaction
11. You Don’t Miss Your Water

BAIXAR DISCO

Como eu sei que vocês vão gostar, depois vou upando as outras pérolas dele.

Ontem estava passando a garota de rosa shocking no telecine cult, e por sinal é um dos meus filmes favoritos! Lembro de quando eu era bem pequena e ele passava sempre na sessão da tarde, porem  para minha tristeza parou de passar, eu passei anos tentando pelo menos alugar esse filme e num achava! Por isso quase morri de felicidade quando vi na programação do telecine!

A garota de rosa shocking conta a história de Andie, a menina pobre, que é toda new wave, não popular, que estuda na  escola de pessoas ricas e tem um crush por um dos  plaboyzinhos da escola! Andie trabalha em uma loja de discos (que tem um poster lindo dos Smiths, com o Morrissey novinho), tem um melhor amigo incrível, engraçadissímo e que gosta dela, o Duckie, e uma amiga mais velha a Iona!

A confusão começa quando Blane, (o playboyzinho que ela gosta), chama ela para sair e tanto os amigos dele, como os amigos dela, não aceitam muito bem o relacionamento dos dois, devido a extrema diferença entre seus mundos!

Além do filme ter um figurino 80’s incrível, ele tem uma trilha sonora de matar!

• • “Pretty In Pink” - The Psychedelic Furs
• “Wouldn’t It Be Good” -  Nik Kershaw
• “What’s It Going To Be” -  Maggie Lee
• “Love” –  John Lennon
• “Round, Round” - Belouis Some
• “Pursuit” – Winston Sharples
• “Rave-Up/Shut-Up” – The Rave-Ups
• “Positively Lost Me”- The Rave-Ups
• “Copacabana (At The Copa)” – Barry Manilow
• “Thieves Like Us” – New Order
• “Elegia” – New Order
• “If You Leave” – Orchestral Manoeuvres in the Dark
• “Whisper / Touch” – Code Blue
• “Bring On The Dancing Horses” – Echo & The Bunnymen
• “Do Wot You Do” – INXS
• “Shell-Shock” – New Order
• “Try a Little Tenderness” – Otis Redding
• “Cherish” – The Association
• “Please Please Please Let Me Get What I Want” – The Smiths
• “Rudy” – Talk Back
• “Left of Center” – Suzanne Vega
• “Get to Know Ya” – Jesse Johnson

Uma das melhores cenas do filme:

Se você nunca assistiu esse super clássico de 1986, pelo amor assista djá!

Otis Redding is mostly known for his posthumous “Sitting on the Dock of the Bay” but his life-ly stuff was top notch. I have his greatest hits CD which features the first 2 numbers. The 3rd song, Land of a Thousand Dances, was pioneered by none other than Mr. Excitement, Wilson Pickett, but performed admirably here by both Otis and Eric Burdon of The Animals. Classic stuff.

Speaking of which:

And that one puts me in the mood for this one for Ray Charles’ unforgettable “I Don’t Need No Doctor.” Great horn section and backing vocals and it’s a rough cut – just the way I like it…..