Por Juliana Gomes

} Hoje, dia 26 de Novembro, tem Deal With The Devil @ Clube Berlin!

Se você gosta de rock, mas rock mesmo, então você não pode perder a noite de hoje do Berlin com a banda Deal With The Devil.

Os violões de aço plugados, com a bateria, o baixo acústico e a gaita dão o timbre diferenciado para os clássicos revisitados pelo Deal With The Devil. A banda paulistana, formada por Johnny Monster que está presenta na voz, baixo, violão e percussão, Judaz Mallet na voz, violão e baixo, Mondrian Alvez com o violão, voz e gaita e Eduardo Ramirez com o som da bateria, voz e percussão. O quarteto homenageia grandes nomes e assina seu pacto com os ídolos que incendiaram o mundo da música.

As influências são do mais puro rock dos anos 60, 70 e 80. De Rolling Stones, Beatles, Doors, Yardbirds, Cramps, Drifters, Stooges, Who, Clash, Led Zeppelin e grandes ícones como Iggy Pop, Elvis Presley, Ray Charles, Johnny Winter, Robert Johnson e Raul Seixas. Até mesmo Amy Winehouse e não perca o set especial do AC/DC que os meninos farão para aquecer o show que está por vir em São Paulo.

Este ora 11 :26 si cateva secunde… pana voi termina articolul va fi vreo 11:30 – 11:40.

Dupa cum spuneam, e ora 11:26 si vreau muzica… Vreau shoogy-dooghy-boogy sau shooby-dooby-wooby cu un pic de chuba-chuba si mai mult da-dam-ta-dam. Vreau Ray Charles, vreau Elvis Presley, vreau Hit the road Jack, vreau blue suede shoes. Vreau energie, vreau sa zbarnaie toata lumea, vreau sa vibreze viata in tot ce vad! Ma plictisesc de… tot. Nimic nu mai e shooby-dooby…

Apoi intru in cadere si ma rasucesc la 180 de grade, incepand sa-mi doresc un blues, un jazz, ceva mai elevat, sau daca nu, mai trist, mai molcom, mai “neiesit din randuri”, ceva lipsit de energie. Vreau un… Dream a little dream of me sau un wish you were here, sau un slow a la Led Zeppelin. Of… balonarii astia le au cu muzica. Mai ales cu bluesurile. Asculta tu dazed and confused sau babe, i’m gonna leave you si spune-mi apoi ca esti indiferent… muzica asta te atinge.

Te, sau ma resemnez/i si incep/i sa ies/i din starea asta si cautam un Beethoven sau un Brahms sau oricare alt clasic, ceva sa ne calmeze, sa ne neutralizeze, sa ne aplatizeze iesirile din comun si asculti asculti simfonia a 5a de Beethoven si..gata? Esti normal? Sunt “neiesit din comun”? Vorbim despre mine sau despre tine? (m-am incurcat ).

Ma duc apoi la culcare in ipostaza normalului, simtindu-ma neutru, comun, “normal” sau “cum ar trebui sa ma simt inainte de alta noapte obisnuita, in care voi avea un somn obisnuit” si visez cu ochii deschisi pentru ca mintea mi-e prea incarcata. Oricat incerc sa ma comport normal nu pot si asta se reflecta asupra somnului. Si tu probabil ai o “neregula”, un semnal care urla “NU ESTI NORMAL! NU ESTI LA FEL CA CEILALTI! Pentru numele lui Dumnezeu, ati avut parinti diferiti!!” . Si stau apoi minute sau ore in pat pana adorm; deobicei tot cu o melodie in gand, deobicei ceva ce am auzit in ziua respectiva si nu-mi pot scoate din minte, oricat  de nasoala ar fi melodia dupa standardele mele.

…camera de hotel…. pat…lumina puternica… soare…. balcon…. briza diminetii….iar soarele ala tampit… ceata…. CEATA?! Casc ochii mai bine, ma frec pertinent la globii oculari si-mi dau seama ca iar e ceata de-o tai cu cutitul si ca “paradisul” maritim inca nu s-a mutat in fundul asta de tara; nu se vede blocul de peste strada. Ma uit la ticaitor: 5:40. Ieeee… iar o zi interesanta (cu 3-4 ore de somn din 8 minimum recomandate, orice e interesant) pornesc laptopul si muzica. Hm…ce sa aleg? E o dimineata imputita… deci muzica trebuie sa fie… optimista! orice dimineata trebuie inceputa optimist, cu un dus de ala comunist, cu apa la -0 grade, cu paine uscata, ceai in care ai scapat prea multa miere, eventual ai inlocuit mierea “din greseala” cu dulceata sau unt (cum fac eu cand zbarnai prea puternic de energie…), un gand de ala fericit care te duce la cele 2 lucrari si tema la franceza nefacuta care te asteapta azi la scoala eventual alta sinapsa care-ti aduce o imagine fericita a unei “ea”; aici renunt la ironie si spun ca asta iti mai aduce un ranjet idiot pe fata . Te gandesti la “ea” sau “el”( “el” daca din diferite motive iti lipseste testosteronul) si incepi sa pui inca o doza de unt in ceai si miere pe fata de masa, incepi sa razi pana vine maica-ta si-ti insenineaza iar ziua cu un dragastos “la ce ora te-ai culcat, ai capiat?! daca nu dormi..blabla”. Te scoli frumusel de la masa si antrenezi boxele intr-o vibratie optimista a lui Bobby McFerrin si incepi sa-ti trantesti competent manualele si ce-a mai ramas din caiete in ghiozdan. Se termina melodia, iti pui stiloul in compartimentul ghiozdanului, te murdaresti de cerneala, iti imbraci hainele, te uiti la paleta larga de incaltaminte care iti sta la dispozitie si optezi din nou pentru tenesii jegosi care cad in fiecare zi la datorie cu inca o cusatura, le ceri parintilor niste parale, daca ai bafta primesti, daca nu …. soarta ) si o tai pe usa. Iti pui muzicantul de servici sa-si faca treaba, te impiedici de aceeasi brodura ca in fiecare dimineata si incepi sa fredonezi ce se nimereste din playlist, in cazul meu, asta imi comenteaza fiecare dimineata .

Apoi te lasi in plictiseala orelor, o dai in bara la o lucrare, iei un 2 la franceza si te intorci acasa fericit ca ai scapat la mate. Ii explici lui maica-ta cum ai facut-o de fasole la biologie numai din cauza lui Marte care azi a intrat intre Luna si Pamant si a lui Jupiter care s-a uitat cas la Pluto care facea sarmale la 2 dimineata, cu slitul deschis. Ajungi in pat te trantesti, o ignori pe saraca si omniprezenta mama care iar isi respecta cu strictete programul, astfel ca la orele 2:20 ale dupa-amiezii te informeaza ca va certati iar daca nu-ti depui geaca in cuier… apoi urmeaza alte maruntisuri, apoi alte ganduri, apoi weekend, din care nu va lipsi muzica . Pana atunci va las cu dumnealor:

Ray Charles. The Genius of Ray Charles. Atlantic, 1959. (on CD)

Pretty over-rated as far as Ray Charles goes. These are big band swing versions of standards (some R&B standards, but mostly jazz), arranged by people like Quincy Jones. People probably say it’s great just because there are so many great musicians playing on it. But you know what? They’ve all got nothing on a straight-up Ray Charles recording. If I want to listen to Count Basie’s orchestra, I’ll get a Count Basie album thank you very much. 7/10 (Good).

Soulussion are proud to announce their next gig. After getting the crowd at the Cramond Brig up and dancing into the wee small hours and begging for more, Soulussion move south to inject some soul and funk into the lives of the residents of the Scottish Borders.

On Saturday 21st November 2009 they will appear at the St Ronans Hotel in Innerleithen, near Peebles. Innerleithen is perfectly situated to give the good people of Selkirk, Clovenfords, Galasheils, Walkerburn, Peebles and Cadrona the chance to enjoy some authentic soul music with barn-storming vocals and backing from the Soul Power Horns.

Make your Saturday Night one to remember and come and join us for what is sure to be a great evening of live music.

Soulussion and the St Ronans Hotel look forward to seeing you on Saturday 21st November 2009.

At http://www.myspace.com/soulussion we are great fans of the late, great Ray Charles.

Ray Charles Robinson (September 23, 1930 – June 10, 2004), known by his stage name Ray Charles, was an American musician. He brought a soulful sound to country music and pop standards through his Modern Sounds recordings, as well as a rendition of “America the Beautiful” that Ed Bradley of 60 Minutes called the “definitive version of the song, an American anthem — a classic, just as the man who sang it.” He also appeared in the 1980 hit movie, The Blues Brothers.Frank Sinatra called him “the only true genius in the business”.

In 2004, Rolling Stone ranked Charles number ten on their list of “The 100 Greatest Artists of All Time” and also voted him number two on their November 2008 list of “The 100 Greatest Singers of All Time”.

In 2003 Charles performed “Georgia On My Mind” and “America the Beautiful” at a televised annual electronic media journalist banquet held in Washington, D.C., at what may have been his final performance in public. Ray Charles’ final public appearance came on April 30, 2004, at the dedication of his music studio as a historic landmark in the city of Los Angeles.

At http://www.myspace.com/soulussion you can find details of the Ray Charles songs we play.

His official website is http://www.raycharles.com

Cool black night thru redwoods
cars parked outside in shade
behind the gate, stars dim above
the ravine, a fire burning by the side
porch and a few tired souls hunched over
in black leather jackets. In the huge
wooden house, a yellow chandelier
at 3 A.M. the blast of loudspeakers
hi-fi Rolling Stones Ray Charles Beatles
Jumping Joe Jackson and twenty youths
dancing to the vibration thru the floor,
a little weed in the bathroom, girls in scarlet
tights, one muscular smooth skinned man
sweating dancing for hours, beer cans
bent littering the yard, a hanged man
sculpture dangling from a high creek branch,
children sleeping softly in their bedroom bunks.
And 4 police cars parked outside the painted
gate, red lights revolving in the leaves.

Το ποιήμα αυτό τιτλοφορείται First Party At Ken Kesey’s With Hell’s Angels και γράφτηκε από τον Allen Ginsberg το Δεκέμβριο του 1965.

Ο Ken Kesey οργάνωνε συχνά πάρτυ τα οποία ονόμαζε «Acid Tests». Πάρτυ, με μουσική (κυρίως με το αγαπημένο του συγκρότημα, The Warlocks, οι οποίοι γίνανε αργότερα διάσημοι ως Grateful Dead), ψυχεδελικά εφέ(black lights κ.α.) και, φυσικά, LSD. Ο Kesey φημολογείται ότι πειραματίστηκε με το LSD παρέα με το Ringo Star, προετοιμάζοντας το έδαφος για τις εμφανίσεις του στη Βρετανία με τους Beatles.

Ο Kesey γνώρισε τα ναρκώτικά στο Stanford, όπου συμμετείχε εθελοντικά σε μια έρευνα της CIA για την επίδραση της λήψης ψυχοδραστικών ουσιών όπως LSD, μεσκαλίνη, κοκαΐνη κ.α. Έπειτα συνέχισε να πειραματίζεται μόνος του…

Ο Kesey στα τέλη της δεκαετίας του ’50 δούλευε νυχτερινή βάρδια σε ένα νοσοκομείο βετεράνων. Εκεί συζητούσε με τους ασθενείς, συχνά υπό την επήρεια παραισθησιογόνων. Ο Kesey δεν θεωρούσε πως οι τρόφιμοι ήταν τρελοί, αλλά ότι μπήκαν στο περιθώριο επειδή δεν συμπεριφέρονταν σύμφωνα με τα συμβατικά κοινωνικά στερεότυπα.

Έτσι,μια μέρα του 1959, υπό την επήρεια οκτώ φυτών peyote, όπως ο ίδιος ισχυριζόταν, έγραψε τις τρεις πρώτες σελίδες του βιβλίου που τον έκανε ευρύτερα γνωστό…

There’s something strange and powerful about black-and-white imagery.
Stefan Kanfer

artist: Peter Nidzgorski, source: this isn’t happiness, tumblr via ffffound

photography: Steven Klein, source: Calvin Klein Underwear ad 2009, models:Eva Mendes & Jamie Dornan

photography: Elle Arden, Source: Black and White Zebra with Black Background

source: google, model: James Dean

source: Friends of Type via ffffound

source: k (1 of 11) en Flickr: ¡Intercambio de fotos!

source: google

photography: Ansel Adams, location: Grand Tetons, Wyoming

model: my grandaddy

source: google

source: google, model: Jimi Hendrix

photography: silja Magg, source: Women Management, model: Katarina Ivanovska

photography: Heidi Slimane, source: FormFiftyFive – Design inspiration from around the world

source: Hubble’s Black and White View of the Universe

source: google

photography: Peter Lindbergh, souce: Numero

source: Ampersanderson via ffffound

photography: Ansel Adams

photography: Allan Rostron

Source: High Society (1956), model: Grace Kelly

photography: David Byun, source: W Korea April 2009, stylist: Yahaira Familia

source: Japanese Numero April 2008

photography: Hugh Morton 1982, model: Jim Braddock  UNC vs Villanova

model: Ray Charles

models: Kennedy family

source: google

source: v-mag model: Naomi Campbell

source: NY daily news, model: Jesse Owens at 36′ Berlin olympics

source: google

photography: Mario Testino, source: German Vogue June 08

photography: Mario Testino, model: Naomi Campbell

photography: Otto Rogge, source: Ocean, Ottophoto

photography: Karim Sadli model: Abbey Lee

source: Beatles

photography: Robert Longos source: “Men in the Cities” series – 1980s via Ryan’s Facebook,

source: Boston Ballet

photography: Raffee, source: Kid in the Park via Raffee

source: Bright Idea Brilliantly Delivered on the Behance Network via ffffound

model: Filippa Hamilton

source: shuttle launch

source: Sand Dunes, Izismile

source: Ralph Waldo Emerson via 30+ Pieces of Inspiring, Funny and Interesting Advice – My Modern Metropolis

Este fin de semana estuve de visita en la ciuadad de Morelia Michoacan, y al regreso atravesamos la Laguna de Cuitzeo, un bello espectaculo de nuestro México.
Lo comparto para ustedes:

]]> http://novasight.wordpress.com/2009/11/22/if-i-lost-my-hearing/ Sun, 22 Nov 2009 21:08:44 +0000 youngcas91 http://novasight.wordpress.com/2009/11/22/if-i-lost-my-hearing/

Today while watching tv I notice how difficult for me to hear it. I came to the conclusion that i must’ve lost my hearing a little.Which gave this question…..What would happen if i go deaf. Now, the thought of that really grind my gears.I can’t even image living without hearing.Not only i would’nt be able to hear people talk shit about me lol just kidding i would’nt able to hear people.I woud’nt be able to listento music. Now image that! Living life having to deal with problems and stress and can’t even listen to music.I would’nt know what to do i’ll prolly blow my noddles out lol just kidding. Like music is very important to me and to lose your hearing and can’t listen to no lyrics that’ll hurt my soul for real.But I guess it’s better to be deaf then blind like ray charles tho!  It’s better to be able to see then not being able to hear.But yeah, everyday i continue to listen to my ipod and music on my laptop at full volume knowing that if I keep it up i might go deaf. But i can’t help it it’s a bad habbit that I don’t wanna break but I need to.For now on i’ma listen to my music and tv at medium level or aleast try to….. What’s more valueable to you your hearing or your sight?

Chart Position: 25

• Originally recorded by Beatles (1965)
• Written by Paul McCartney
• Also recorded by Matt Monro (1965), Mary Wells (1965), Jan and Dean (1965), Hollyridge Strings (1965), Beau Brummells (1966), Johnny Mathis (1966), Eddie Fisher (1966), Liz Damont’s Orient Express (1971), Willie Nelson (1966), Smothers Brothers (1966), Trini Lopez (1966), Barbara Lewis (1966), Young-Holt Trio (1966), Jack Jones (1966), Dino Desi & Billy (1965), Dick Hyman (1966), Cilla Black (1966), Lettermen (1966), Seekers (1966), Perry Como (1966), Chet Atkins (1966), Andy Williams (1966), Chris Montez (1966), Ventures (1967), Marianne Faithfull (1967), Tom Jones (1967), Percy Faith & Orchestra (1966), Glen Garrison (1968), Wes Montgomery (1968), Ray Price (1968), Bar-Kays (1969), Impressions (1969), Gladys Knight & Pips (1968), Marty Robbins (1968), Leon Haywood (1969), Frank Sinatra (1969), Marvin Gaye (1970), Bill Medley (1970), Dillards (1970), Elvis Presley (1970), Jose Feliciano (1970), Dionne Warwick (1970), Arthur Fiedler & Boston Pops (1971), Dr. John (1975), David Essex (1976), Sarah Vaughan (1981), Will Tura (1981), Paul McCartney & Wings (1977), 12 Cellists of Berlin Philharmonica (1983), Placido Domingo w/John Denver (1981), Boyz II Men, Acker Bilk (1988), Allen Toussaint Orchestra (1989), Michael Bolton (1992), En Vogue (1992), Shirley Bassey (1991), Boyz II Men (1994), Billy Dean (1995), Jon Simon (1995), Gary Tesca Orchestra (1995), Spectrum (1999), Jim Horn (2000), Laurence Juber (2000), LeAnn Rimes (1997), Florence Ballard (2001), Judy Collins (2007) and many others

Un  portrait réussi du maître du Chapeï cambodgien, Kong Nay :

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…..

(2555 KB)
Listen on posterous

Sesame Street. The Muppets.  So much comes to mind when you hear these names. An array of hilarious characters that were with us through our childhood.  Making us laugh, dance, sing and just enjoy life.  It’s no secret that adding muppets to anything automatically makes it awesome.  This is evident in the countless CD’s they’ve released consisting of muppets singing normal people songs, or the list of classic stories that have been redone starring them ( A Muppet Christmas Carol!).  But just this once, and I swear to you this will be the only time you will ever be asked to do this, lets NOT consider the muppets in order to appreciate true genius at the core…Sesame Street music.

I was first prompted to listen to Sesame Street music out of context by my good friend, Charlie. He had this documentary on the man behind the music, Mr. Joe Raposo, and one night we sat down and decided to watch it. I was a little skeptical at first as to why we would want to watch a special on Sesame Street music. In my head, they were just silly kid songs that accompanied a number of great muppet skits.  Boy, was I wrong.  This documentary featured multiple clips of Mr. Raposo perfoming these songs himself on piano, and that’s when I realized how amazing they actually are. There are two songs that I want to discuss in particular, and I’m sure you know them…”It’s Not Easy Bein’ Green” and “Sing!”

It’s Not Easy Bein’ Green

We’re all familiar with this reflective masterpiece, sung by none other than the infamous, Kermit the Frog. When listening to a little green frog with a hilariously unique voice, it’s kind of hard to look past it and really appreciate the songwriting.  For this reason, it wasn’t until I heard a cover by Ray Charles that I was able to finally understand it. First of all, what an amazing melody.  It’s hard to hear that song and not walk away humming it. It’s short, yet as long as it needs to be. What really captures my attention, though, are the lyrics.  Mr. Raposo wrote this song specifically for Kermit to sing, and it is a very funny subject matter.  But looking at it closely, its message is one that people try to communicate so often…love who you are and don’t try to be different. Remember that these songs are written for kids, and it makes me happy to know that Mr. Raposo was able to teach them this lesson without being upfront and preachy about it.  Instead, he used a loveable character (Kermit) to get the message across to those children, and as I’ve come to realize lately, adults as well.

When green is all there is to be
It could make you wonder why,
But why wonder, why wonder?
I am green and it’ll do fine,
It’s beautiful!
And I think it’s what I want to be.

Sing!

This became a sort of anthem for Sesame Street.  They often had a number of different guests perform the song, and on the Joe Raposo documentary, there was a performance in which every sesame street character sang a line or two in his memory. Once again, Mr. Raposo had written an infectiously catchy tune for children to sing along to, as prompted by the lyrics.  There is no doubt that this song went, and may still, go straight to the hearts of all of those who grew up with Sesame Street.  But Joe is not only telling us to sing, he is urging us to be ourselves, regardless of what others may think.

Sing!
Sing a song!
Make it simple,
To last your whole life long.
Don’t worry that it’s not good enough
For anyone else to hear.
Just sing!
Sing a song!

These well written songs are hard to take seriously when they are featured on a show like Sesame Street, being sung by talking frogs and giant yellow birds.  But I urge you to look behind the visual, and appreciate the audio.  Take some time and look up a few covers to really hear and enjoy them. I think you will find that these songs are some of the most beautifully written pieces of music you will hear. I’ve included an acoustic cover of “Sing!” that I found on YouTube to get you started.  It is done by a guy with the screenname, danielhassixstrings.

Go ahead and dive back into your childhood.  I think you will find it just as enjoyable now as you did back then.

Noel

Posted via email from Project Nodajo

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• Come And Play: ‘Sesame Street’ Celebrates 40 Years (npr.org)
• 40 Years of Sesame Street: Happy Birthday!! (takepart.com)

I venti leghisti tirano così forte da incidere anche su un evento nazional-popolare come il Festival di Sanremo. Svecchiare un regolamento dopo quasi 60 anni si può, ma recriminarne la natura ed inserire le canzoni in dialetto mi sembra troppo. Da buon napoletano ritengo che cultura musicale dialettale sia un patrimonio immenso, a cui neanche io da ascoltatore vorrei rinunciare. E non ne faccio questioni geografiche o antropologiche perchè ascolto con la stessa partecipazione emotiva il comasco Davide Van De Sfroos così come il parneopeo Peppe Barra. Il palco del teatro Ariston è l’agorà del Festival della Canzone italiana, una manifestazione che non dovrebbe essere né una vetrina del nazionalismo tricolore né l’oasi del federalismo canzonettaro. E’ vero che il Festival di Sanremo perde il suo seguito anno dopo anno, ma non è questa la trovata giusta per far acquistare sprint all’intrigante macchina discografica che ne fa da supporto. Le canzoni in dialetto possono essere valorizzate in altri spazi, possibilmente costruiti su misura. Per quanto riguarda l’esterofilia sanremese, dico la mia: no ai superospiti strapagati, ma sì ai duetti con gli stranieri per esportare qualche canzone all’estero. Mica tutti si chiamano Ramazzotti, Bocelli o Pausini? E poi se in passato non fosse stato così, nel 1990 non ci saremmo emozionati con  Ray Charles che cantava Good Love Gone Bad, versione in inglese di un pezzo di Toto Cutugno.

Acho que já ouvi essa música hoje umas vinte vezes…

Let me tell you ’bout a girl I know
She is my baby and she lives next door
Every mornin’ ‘fore the sun comes up
She brings me coffee in my favorite cup
That’s why I know, yes, I know
Hallelujah, I just love her so

When I’m in trouble and I have no friend
I know she’ll go with me until the end
Everybody asks me how I know
I smile at them and say, “She told me so”
That’s why I know, oh, I know
Hallelujah, I just love her so

Now, if I call her on the telephone
And tell her that I’m all alone
By the time I count from one to four
I hear her [KNOCK-KNOCK-KNOCK-KNOCK] on my door

In the evening when the sun goes down
When there is nobody else around
She kisses me and she holds me tight
And tells me, “Daddy, everything’s all right”
That’s why I know, yes, I know
Hallelujah, I just love her so

Now, if I call her on the telephone
And tell her that I’m all alone
By the time I count from one to four
I hear her [KNOCK-KNOCK-KNOCK-KNOCK] on my door

In the evening when the sun goes down
When there is nobody else around
She kisses me and she holds me tight
And tells me, “Daddy, everything’s all right”
That’s why I know, yes, I know
Hallelujah, I just love her so
Oh, hallelujah
Don’t you know, I just love her so
She’s my little woman, waitin’ all this time
Babe, I’m a little fool for you, little girl…
(FADE OUT)

As “Sesame Street” celebrates its 40^th anniversary this week, The Daily Record examines five of the show’s greatest musical moments.

Johnny Cash – “Nasty Dan”

Twenty years after “Cry Cry Cry” appeared in jukeboxes, Johnny Cash was singing with Oscar the Grouch on Sesame Street. “Nasty Dan” appears on the classic 1975 record “The Johnny Cash Children’s Album,” but Oscar is the perfect foil for the number. Cash enjoyed his fifth season spin on the Street so much, he returned to Jim Henson’s world of Muppets. In 1980, Cash hosted an episode of The Muppet Show. Cash was also the inspiration behind the 1990s Sesame Street character Ronnie Trash, who sang about the environment in Cash’s classic boom-chicka style.

The Fugees – “Just Happy To Be Me”

The Fugees immortal sophomore album “The Score” was one of the best-selling albums of the 1990s, but it wasn’t exactly kid-friendly material. Somehow, though, the divisive Elmo took a shine to the group and invited the trio to appear in his 1998 TV special. Although “Ready or Not” could have been adapted to a song about playing hide-and-seek, the Lauryn Hill, Pras Michel and Wyclef Jean opted to cover a newer song in the Sesame Street canon, “Just Happy To Be Me.” Jean has returned to the Street several times since, but Hill and Michel are perpetually M.I.A. This once prompted Snuffleupagus to hollar “Where Fugees at?”

Stevie Wonder – “1,2,3 Sesame Street”

Stevie Wonder between albums and at arguably at the peak of his career when he appeared on the Sesame Street in 1973. In a rare Sesame Street-Soul Train crossover moment, Wonder and his full band performed his recent hit “Superstition.” He then returned with the original number “1,2,3 Sesame Street,” starting a new talk box fad at kindergarteners across the country.

Itzhak Pearlman – Easy and Hard

This isn’t as much a song as a lesson with the greatest classical violinist of his generation. Itzhak Pearlman was no stranger to Sesame Street when he appeared in this 1981 clip. Polio is all but forgotten today, but the message on disabilities and talent still rings true.

Cab Calloway – “Mr. Hi De Ho Man”

Cab Calloway earned the nickname “The Hi De Ho Man” after his signature song, “Minnie the Moocher” became a hit in 1931. Half a century later, Calloway converted his handle to a greeting and performed on Sesame Street with the perpetually contradictive Two-Headed Monster. Calloway’s guest spot occurred during a late career resurgence. After spending almost a decade as a has-been, Calloway was back in the spotlight, thanks to his role in “The Blues Brothers” film. The movie was directed and co-written by John Landis, who was good friends with Muppeteer Frank Oz. Oz, who voiced Grover, Bert and Cookie Monster on Sesame Street and Miss Piggy, Fozzie Bear and Yoda, appears as the guard who returns Joliet Jake’s belongings at the beginning of “The Blues Brothers.”

Ray Charles – “The Alphabet”

This bonus clip is from Ray Charles’ second stop on the Street in 1977. Although he’s just singing the alphabet, there are few artists who could make 26 letters swing so hard.

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/

Ya sabemos el significado de “cosmic blues”, comprendemos que su contenido es positivo, cultural y estamos enterados de que es uno de los mejores programas de radio de blues a nivel nacional. A estas alturas, ya debe ser un hábito encender nuestros estéreos cada domingo en punto de las 19 horas para sintonizar el 89.7 del f.m.

Todo esto se debe gracias a los dos años consecutivos de osadía y trabajo arduo para crear conciencia en nuestra radiofonía en la ciudad de Monterrey y su área metropolitana. Sin embargo, a su vez, esto no hubiera sido posible sin el esfuerzo de su conductor, Chester Draven y, por supuesto, de su productor, Ángel Lozano.

“Dos años” se dice fácil, pero seguramente no lo son. Es por esto que el día de hoy, hago una pequeña mención y una gran felicitación y las buenas vibras a estos dos grandes personajes que han conseguido ganarse nuestra simpatía cada fin de semana durante este grato periodo. Este Domingo 15 es el festejo magno de la segunda celebración del blues en su máxima expresión en nuestra ciudad a través de la frecuencia modulada, y para ello, Chester nos amenazó con arrojar la casa (bueno, la cabina) por la ventana y aseguró prepararnos una sorpresa de locos (por cierto, yo también tengo la mía).

Desgraciadamente y por alguna razón inexplicable, no soy digna de decir que vengo escuchando a los máximos exponentes del blues desde el inicio de la transmisión  dominical, pues apenas llevo alrededor de  medio año recopilando información y descubriendo cuan grande el mundo del blues puede llegar a ser. No obstante, he aprovechado cada emisión a tope, al grado de reunir a los artistas que Chester nos ha regalado a lo largo de los últimos 20 programas (aproximadamente).

No puse fecha y es muy probable que el orden de aparición en esta lista no sea correcto, pido una disculpa, pues perdí la orientación. Además, también es posible la ausencia de algunos músicos mencionados en los últimos seis meses, pero si la idea es hacer una colección con lo relevante del blues, el siguiente catalogo esta en muy buena disposición para lograrlo:

Little Walter
Howlin’ Wolf
Miguel Botafogo (Don Vilanova)
Mississippi Blues Band
Texas Blues
Lester Williams
Johnny Copeland
T-bone Walker
Sunset Heights
Howling Wolf
Carey Bell
Sonny Boy Williamson
Victor Uris
Rory Gallagher
Gary Moore
Jonny Lang
Debbie Davies
Rory Block
Deborah Coleman
Ana Popovic
Susan Tedeschi
T44 Blues Band
Albert Collins
Kansas City blues
Robert Johnson
Jeff Beck
Derek Trucks
Kenny Wayne Shepherd
Big Mama
Ray Charles
John Ussery
Al Green
Eric Clapton y Babyface
Tracy Chapman y B.E. King
Christina Aguilera y Dr. John
Clarence Gatemouth
Eric Clapton y buddy guy
Jimmy Vaughan
Leann rimes
Quincy Jones
Etta James
John Mellencamp

Así que no se pierdan el programa de mañana, pues promete ser de primera clase y no es para menos, es claro que dos años bluseando no se cumplen todos los días…

ENHORABUENA PARA COSMIC BLUES Y MUCHOS AÑOS MAS DE VIDA PARA EL PROGRAMA!!!

click aquí para accesar a la estacion de radio vía on-line

00262.0000 GEORGIA ON MY MIND

Music: Hoagy Carmichael
Words: Stuart Gorrell

Link to Lyrics and Chords
Link to Ray Charles’ Performance

Georgia, Georgia, the whole day through
Just an old sweet song keeps Georgia on my mind.
Georgia on my mind.
Georgia, Georgia, a song of you
Comes as sweet and clear as moonlight through the pines.
Other arms reach out to me, other eyes smile tenderly,
Still in peaceful dreams I see the road leads back to you.
Georgia, Georgia, no peace I find,
Just an old sweet song keeps Georgia on my mind.

Ahora le toca el turno a una canción de los 70 cantada por SAS, que en 1988 Ray Charles hizo una cover de ella. Nos referimos a いとしのエリー ( Itoshi no Ellie ), una canción de gran éxito lanzada originalmente por el grupo Southern All Stars ( SAS ).

Southern All Stars es un grupo de pop/rock japonés nacido en 1978, el cual sus miembros aún están en activo. Recientemente la productora del grupo, Victor Entertainment Japan, ha anunciado que en un futuro no muy lejano volverán a cantar juntos como antaño.

El grupo se compone de 5 miembros: Keisuke Kuwata (vo.), Yuko Hara (vo., kb.), Kazuyuki Sekiguchi (bass), Hiroshi Matsuda (dr.) y Kegani (percussion). Cada uno tiene su carrera como solistas, pero juntos hacen una banda excepcional.

Ithoshi no Ellie fue el tercer single de Southern All Stars, y con él consiguieron dar el gran salto a la fama, siendo la canción reconocida por muchos críticos de música en Japón. Tuvo tanto éxito, que hasta Ray Charles, cantante y pianista estadounidense reconocidísimo en todo el mundo, hizo una versión inglesa de la canción Itoshi no Ellie, llamandola él Ellie my love.

Ellie my love, por su parte, obtuvo gran aceptación también en Japón. Consiguió estar en el 3º puesto en las listas Oricon.

Os dejo las dos versiones:

Southern All Stars – Itoshi no Ellie ( 1979 )

Ray Charles – Ellie My Love ( 1988 )

(Above: Richard “Popcorn” Wylie’s version of “Money (That’s What I Want)” is one of music writer Bill Dahl’s favorite early Motown songs.)

By Joel Francis

Chances are good that Chicago-based music writer Bill Dahl has penned the liner notes to at least one of your favorite reissues or compilations. Since 1985, Dahl has been commissioned to write the notes for hundreds of blues, R&B, rockabilly and rock collections on both major and boutique labels.

In 1998, Dhal was recognized with a Grammy nomination for his essay on Ray Charles’ sax section included in the “Ray Charles – Genius and Soul: The 50^th Anniversary Collection” box set. In 2000, he received the Keepin’ the Blues Alive award from the Blues Foundation in Memphis. His book, “Motown: The Golden Years” was published in 2001. Dahl’s latest project was co-authoring the amazingly comprehensive liner notes for each of the 12 volumes in the Hip-O Select “Complete Motown Singles” series.

Dahl also writes regularly on his Web site. He recently spoke to The Daily Record via e-mail.

The Daily Record: What was your first exposure to Motown and how did you become interested in writing about it?

Bill Dahl: I started buying quite a bit of Motown vinyl—the Miracles, the Temptations, Jr. Walker, Marvin Gaye, the Four Tops—during the early ‘70s as an outgrowth of my record collecting interests, which were expanding rapidly from my original love of ‘50s rock and roll. I was getting into soul, blues, rockabilly, etc., and loving it all (much to the chagrin of my mainstream rock-loving high school classmates, who ragged me unmercifully; I guess I never was much of a conformist).

TDR: What are some of the more interesting stories or facts you learned in researching these liner notes?

BD: One thing that always impresses me is the loyalty the great majority of Motown’s ‘60s artists have to the company and Mr. Gordy to this day. I was fortunate to attend a charity tribute to him a few years ago in LA, and a virtual galaxy of Motown stars performed and paid homage to their beaming boss. Later, all of them trooped up to the stage at the end to sing the old Hitsville fight song!

I’ve found it interesting that several of the better-known songwriting teams had a similar setup to that of Lennon-McCartney—if one wrote it, both names went on automatically. It’s been a pleasure tracking down a lot of the lesser-known acts, including a lot of the Rare Earth label rockers, to get their intriguing stories. They’re too often overlooked and made their own contributions to Hitsville history.

TDR: What are some of the biggest misconceptions about Motown?

BD: The goofy and totally unfounded rumors that the mob was involved with the label, solely because a few very competent Caucasians wielded power in the front office. The only color Mr. Gordy cared about was green, so he hired the best person for the job. There were more than a few R&B labels where “da boys” were in up to their eyeballs (no names here), but Motown wasn’t one of them.

TDR: Motown’s big stars get a lot of attention. Who are some of the unheralded Motown artists worth checking out? Were there any long-forgotten gems you discovered as a result of working on the Complete Motown Singles notes?

BD: I remember being amazed by Richard “Popcorn” Wylie’s version of “Money (That’s What I Want),” which is on the first Complete Singles box. It sounds like B. Bumble and the Stingers meet Hitsville!

Gino Parks’ “Same Thing” (which I knew about already) and several others of his songs are fantastic, as are Singin’ Sammy Ward’s early blues numbers, like “Who’s The Fool.” I love Jr. Walker’s early instrumentals – “Mutiny,” with James Jamerson’s jazz bass solo, is astounding – Shorty Long, Brenda Holloway, Kim Weston, the Velvelettes, and some of Little Stevie Wonder’s overlooked early outings. Los Angeles guitarist Arthur Adams’ “It’s Private Tonight,” which came out on Motown-distributed Chisa (it’s on the 1970 box), is the perfect marriage of blues and soul.

TDR: How detrimental do you think Berry Gordy’s favoritism toward Diana Ross was to the label? How much better would Martha Reeves, Gladys Knight, Kim Weston and Mary Wells have fared otherwise?

BD: It wasn’t detrimental in the slightest; the Supremes made some of the biggest hits of the ‘60s at a time when the British Invasion was otherwise dominating our charts, and Diana Ross had a coquettish mainstream appeal that none of the rest had. Mary Wells ruined her own career by walking away from Motown when she turned 21. Gladys Knight and the Pips were already stars when they arrived at Motown and far bigger ones when they left, though they got even hotter at Buddah. Kim Weston’s Motown career was inextricably intertwined with that of her husband, Motown A&R chief Mickey Stevenson, for both better and worse.  And Martha Reeves and her Vandellas had a series of incredible hits, much like the Marvelettes, that made both groups long-term mainstays.

TDR: There has been some disagreement over Tammi Terrell’s involvement on the duet albums with Marvin Gaye that bear her name. Did she return to the studio after her collapse and is that her voice on those songs? What was (Motown songwriter) Valerie Simpson’s role in these recordings?

BD: It’s impossible to say for sure, since Valerie has never admitted any possible lead vocal involvement (Marvin Gaye’s biography stated such unequivocally, but I’d be less inclined to buy in).  I doubt we’ll ever know one way or the other for sure, though Valerie’s role as co-producer and co-writer on many of them was so crucial that Tammi was no doubt channeling her vocal approach when she sang them (if indeed she was on the last couple hits).

TDR: The Complete Motown Singles Collection series ends in 1972. Why stop there? What is your favorite post-1972 Motown single or moment?

BD:  That was the end of the Detroit era—the Golden Years—so it seems like a reasonable place to end it, though you’d have to ask my boss Harry Weinger (Vice President of A&R for Universal Music – ed.) there. I’m not sure I have too many post-1972 favorites—I’m very partial to the 1959-72 Motown era we’ve covered on the Complete Motown Singles series—but  Gloria Jones, Yvonne Fair, Chicago blues guitarist Luther Allison, and Jr. Walker’s “Peace, Love and Understanding” come to mind.

TDR: In your mind, what was the greatest single factor in the label’s decline? Was it the departure of Holland-Dozier-Holland, the move to Los Angeles, Gordy’s interest in movies or something else?

BD: I don’t think we can accurately say Motown declined, since it’s still a going entity today and enjoyed a ton of hits after 1972. Times change and so do musical tastes, so keeping the same sound in 1972 that sold so well in the mid-‘60s would have been a recipe for disaster. Certainly HDH’s departure was a blow, but that gave other writers and producers more room to create their own soulful magic, like Norman Whitfield. The move to Los Angeles hurt the artists and musicians that chose to remain in the Motor City, and didn’t help the local economy either.

Mr. Gordy’s early ‘70s interest in the film industry made him a lot harder to reach on the phone at the time, much to the frustration of some staffers, but artistically it had a negligible effect since he wasn’t all that active musically by then anyway other than with the Jackson 5.

TDR: Ultimately, what do you feel is Motown’s greatest and most lasting impact on music today? Why?

BD: As the top indie label of the ‘60s, Motown turned the industry on its ear. There had been successful African-American owned record labels prior to Motown—Duke/Peacock, Fire/Fury, and Vee-Jay come to mind—but none were so monumentally successful. Gordy’s mantra of making R&B attuned to pop sensibilities had never been pulled off so convincingly. He also did a masterful job of delegating authority in the A&R department. It sounds like a cliché to say these classic recordings will never die, but they won’t.

TDR: Now that this project is over, what is your next venture? Are there any more Motown projects on the horizon?

BD: There are no Motown projects immediately scheduled, but I wrote the notes on Reel Music’s CD reissue of Jimmy Ruffin’s fine “Ruff ‘n Ready” Motown LP, complete with a fresh in-depth interview with the gracious Mr. Ruffin, which is just coming out.

I’m hoping and praying that Rhino Handmade finally releases the wonderful Wilson Pickett boxed set that it’s been sitting on for more than two years. A recent proclamation on the label’s website says it’s been scheduled. I wrote a huge track-by-track essay for it, much like the ones in the Motown boxes. It’s got everything he did for Atlantic on it and plenty more. Interestingly, the Funk Brothers played on Pickett’s first solo platters for Double L, a fact scantily documented before I started doing research for this box.

Keep reading:

Music essays and reviews by Bill Dahl

More features and interviews on The Daily Record:

Former NBA player at home in KC music scene

Jamie Foxx brings it to Sprint Center on Saturday

George Kalinsky: Painting with Light

Modest Mouse: Johnny Strikes Up the Band

Hail Death Cab

Ever Fallen For The Buzzcocks?

Out of the Tar Pit Back Onto the Stage

Local Doctor Claims He’s Treating Elvis

Down on “Cypress Avenue”