Note From Dada!
Και κλείνω τις εκδόσεις της Trains Air με την τελευταία και αρκετά πρόσφατη συλλογή της (Ιανουάριος 2012) "West Indies Soul" που όπως μαρτυράει άλλωστε και εκείνο το "Volume 1" ...καλά να μαστε...και έπεται και συνέχεια.
Rating: 7/10 Sound Quality: Lossless Format: Flac Record Label: Unknown (Original), Trans Air (Reissue) Year Released: Unknown (Original), 2010 (Reissue) Album Covers: Included Pass: radiodada
Από όσα δισκάκια του είδους (ας τα ορίσω με τον γενικό όρο "Tropical-Funk & Soul") διαθέτω στη δισκοθήκη αυτό πραγματικά πρέπει να είναι ένα από τα πιο μπασταρδεμένα. Τα εκ Σάντα Λουτσίας παλικάρια που ονομάζονται The Night Train (ή συντομογραφία T.N.T.) κάπου εκεί στις αρχές της δεκαετίας του 70 (αν δεν κάνω λάθος) αποφάσισαν να ανακατέψουν τη Reggae, τη Funk, τη Soul, τη ψυχεδέλεια, τα calypso και τα λάτιν στοιχεία της περιοχής και αρκετά ακόμα μουσικά είδη και να φτιάξουν ένα πραγματικά πανέμορφο μουσικό μείγμα. Ίσως το πιο χαρακτηριστικό παράδειγμα του δίσκου είναι το γνωστό Ponteio (του Edu Lobo) που "ξ-έχασε" τις βραζιλιάνικες καταβολές του για γίνει ένα reggae/dub/tropical soul ορχηστρικό θέμα.
Το κόλλημα τώρα του δίσκου είναι εκείνο ψυχεδελικό-soul κομμάτι με τίτλο "The Looser" (το οποίο σας ποστάρω και παρακάτω σε βίντεο μορφή) με τον "Χατζιδακικό του χαρακτήρα" -ιδιαίτερα όσο αφορά τη σύνθεσή του- (δεν ξέρω αν είναι μόνο δικιά μου εντύπωση - πείτε καμία γνώμη), μία απ' τις καλύτερες στιγμές του album. Την ερμηνεία αυτού του πανέμορφου κομματιού όπως και των υπολοίπων τραγουδιών του album αναλαμβάνουν να φέρουν εις πέρας με εξαιρετικό τρόπο ένα τραγουδιστικό δίδυμο, οι συμπατριώτες του σχήματος The Superbs.
Για πολλοστή φορά (όσοι παρακολουθούν συστηματικά το blog) θα με δείτε να γκρινιάζω και να εκνευρίζομαι απίστευτα με αυτή την απαράδεκτη εταιρεία ονόματι Trans Air, καθώς πάει και ξεθάβει τέτοια διαμάντια - για τα οποία όμως δεν αναφέρει απολύτως τίποτα σχετικά με την μπάντα/τους δημιουργούς/τα κομμάτια κτλ... τα οποία καταλήγουν να μοιάζουν λεπτόμέρειες μπροστά στο γεγονός ότι δεν αναφέρεται πουθενά ούτε κάν η χρονολόγια της αρχικής έκδοσης! Anyway...Τι να πει κανείς...
Όπως και να έχει πρόκειται για ένα από τα καλύτερα δισκάκια του μικρού καταλόγου της, το οποίο συνιστώ ανεπιφύλακτα.
Ολοκληρώνω τις κυκλοφορίες τις Trans Air Records ποστάροντας και τα υπόλοιπα τρία από τα έξι συνολικά album που έχει εκδόσει (ως τώρα) η εν λόγω εταιρεία (τα υπόλοιπα τρία τα βρίσκεται εδώ/εδώ και εδώ). Το Disc 'O' Lypso είναι το υπ' άριθμον Νο.1 δισκάκι της εταιρείας το οποίο αν και έχει το κέφι του αλλά και το ενδιαφέρον του, σίγουρα δεν σιγκρίνεται με τις συλλογές West Indies Funk ή με την επανέκδοση του δίσκου Making Tracks των The Night Train. Όμως πραγματικά χωρίς να θελήσω να το συνδυάσω με την εποχή, νομίζω ότι όσοι θελήσουν αυτές τις μέρες να κινηθούν στις μουσικές που επιβάλλει αυτή περίοδος (σκέφτηκα να το έβαζα σε εισαγωγικά αυτό το ρήμα, αλλά τελικά νομίζω εκτός εισαγωγικών έχει περισσότερη σημασία) θα βρουν το εν λόγω δισκάκι απλά εξαιρετικό. Ιδιαίτερο ενδιαφέρον έχει η διασκευή στο κομμάτι των "The Beginning Of The End" -το "Funky Nassau"- (κλικ εδώ) το οποίο εδώ μοστράρεται ως "Nassau's Disco" ερμηνευμένο από τους Mucho Plus. Αυτή η εκτέλεση αν δεν κάνω λάθος προέρχεται από το 1979 και την ίδια χρονιά ο ιθύνων νους των The Beginning Of The End ο Ray Munnings μάλλον ψιλοζήλεψε και έδωσε την δική του εκδοχή στην μεγάλη επιτυχία του συγκροτήματος (κλικ εδώ)*. Κι αφού όλα δείχνουν ότι οικονομικά το Hellas επιστρέφει πίσω σε μακρινές δεκαετίες, αυτή η συλλογή θα σας βοηθήσει τα μάλα να ενταχθείται στις παλιές εκείνες "αγνές" μέρες των τελών του '70 και των αρχών του '80.
Καλή ακρόαση!
Radiodada
ΥΓ. Αν δεν απατούν τα "ψαξίματά" μου η version των Mucho Plus προηγήθηκε αυτής του Munnings.
Μία εξαιρετική επανέκδοση και ένα απ' τα καλύτερα δισκάκια του καταλόγου της πάντα ουσιαστικής στις εκδόσεις της Soundway. Το μοναδικό album των Black Truth Rhythm Band μιας πολύ ιδιόμορφης μπάντας από το Τριντιντάτ. Το ιδιόμορφο κολλάει στο γεγονός ότι οι περισσότερες μπάντες εκείνης της περιόδου (των τελών του 60 και τις δεκαετίας του 70) στην ευρύτερη περιοχή της καραϊβικής, ενσωμάτωναν στον ήχο τους τον αμερικάνικο soul & funk ήχο, ενώ οι Black Truth Rhythm Band "έστρεψαν τα αυτιά τους" προς την Αφρική, στο afrobeat και γενικότερα στα αφρικανικά ακούσματα. Ιδιαίτερα σε κάποια κομμάτια (όπως π.χ. στο ομώνυμο Ifetayo) νομίζεις ότι πρόκειται για κάποια Γκανέζικη ή Νιγηριανή μπάντα. Αυτό βέβαια με κάποιο τρόπο έχει μια "σχετική σύνδεση" καθώς ο μπασίστας, vocalίστας και ουσιαστικά ιθύνων νους του σχήματος, ο Oluko Imo, αρκετά χρόνια αργότερα συνευρέθηκε μουσικά και με τον Fela Kuti αλλά και με το σχήμα του τους Egypt 80. Αρκετά αφροκεντρικός ο ήχος σε όλο το δίσκο, με ελάχιστα πράγματα να σε προσγειώνουν πίσω στην καραϊβική όπως για παράδειγμα η χρήση του εξωτικού steelpan (όργανο που ανακαλύφθηκε άλλωστε στο Τρινιντάτ). Δεν μπαίνω καν στη διαδικασία να απομονώσω κομμάτια ως καλύτερα του album γιατί πραγματικά όλα τα tracks του δίσκου είναι διαμάντια. Σας ποστάρω απλά για μία καλή τζούρα τα εξαιρετικά Ifetayo & Save D Musician και εύχομαι καλές ακροάσεις.
Σας φιλώ στο μόντεμ!
Radiodada
ΥΓ. Από ότι παρατήρησα κι εγώ και όπως στη συνέχεια διαπίστωσα ψάχνωντας στο διαδίκτυο υπάρχει τυπογραφικό λάθος (που άλλωστε επισημαίνουν κι από την Soundway) στους τιτλους των κομματιών.Οπότε μην δώσετε σημασία στη σειρά των tracks που αναφέρονται στο οπισθώφυλλο αλλά στους τίτλους που υπάρχουν στα μουσικά αρχεία που έχω ποστάρει. "Διασταύρωσα" τα κομμάτια και εάν δεν κάνω κάποιο λάθος (αν ναι διορθώστε με) στην κόπια που σας τρατάρω- τίτλοι και κομμάτια είναι οκ-.
Note From Dada!
Αυτό το σηματάκι που βρίσκεται στο πλάϊ απ' το εξώφυλλο του δίσκου - δεν πρέπει να το έχετε δει και πολλές φορές σε ετούτο εδώ το μπλογκ, καθώς προκείται για δίσκους που έχω ριπάρει από βινύλιο (ή έχουν ριπαριστεί από βινύλιο και τους "δανείστηκα" ιντερνετικά) και εάν δεν κάνω λάθος δεν πρέπει να είναι περισσότερα από 1-2 album. Ελπίζω στο μέλλον -κουράγια και χρόνο να έχω- να μοιραστώ μαζί σας περισσότερα βινύλια από τη δισκοθήκη μου...
Προς το παρόν εδώ ένα περσινό 45άρι της Soundway με πρωταγωνιστή τον νιγηριάνο τρομπετίστα King Kennystone και την παρέα του.
Σας φιλώ στο μόντεμ! Radiodada
King Kennystone & His Western Toppers Band - Suzzy Twist
King Kennystone & His Western Toppers Band - Nwayo Twist
About King Kennystone
King Kennytone, trumpeter and stalwart of the Nigerian Highlife scene of the 50s and 60s was the foremost purveyor of African twist in the early 60s. Following the massive dance craze of The Twist in the US and UK in 1961/2, Kennytone recorded his African Twist numbers at the same time in both English and Igbo. As with later imported styles such as soul and funk many broadcasters and journalists of the day criticised him for being concentrating on music that wasn’t African in origin but his records were huge hits and endure to this day (especially with the recent resurgence in late ’50s and early ’60s black Rock n’ Roll and R&B).
About Ben Webster
Benjamin Francis Webster (March 27, 1909 – September 20, 1973), a.k.a. "The Brute" or "Frog," was an influential American jazz tenor saxophonist. Webster, born in Kansas City, Missouri, was considered one of the three most important "swing tenors" along with Coleman Hawkins and Lester Young. Known affectionately as "The Brute", he had a tough, raspy, and brutal tone on stomps (with his own distinctive growls), yet on ballads he played with warmth and sentiment. Stylistically he was indebted to alto star Johnny Hodges, who, he said, taught him to play his instrument.
About Joe Zawinul
Josef Erich Zawinul (July 7, 1932 – September 11, 2007) was an Austrian-American jazz keyboardist and composer.
First coming to prominence with saxophonist Cannonball Adderley, Zawinul went on to play with trumpeter Miles Davis, and to become one of the creators of jazz fusion, an innovative musical genre that combined jazz with elements of rock and world music. Later, Zawinul co-founded the groups Weather Report and the world fusion music-oriented Zawinul Syndicate. Additionally, he made pioneering use of electric piano and synthesizers. Zawinul was named "Best Electric Keyboardist" 28 times by the readers of Down Beat magazine.
Several artists have honored Zawinul with songs, notably Brian Eno's instrumental "Zawinul/Lava", John McLaughlin's instrumental "Jozy", Warren Cuccurullo's "Hey Zawinul", Bob Baldwin's "Joe Zawinul", Chucho Valdés's "Zawinul's Mambo", Biréli Lagrène's instrumental "Josef" and Toninho Horta's instrumental "Balada para Zawinul". Zawinul's playing style is often dominated by quirky melodic improvisations — both bebop, ethnic and pop sounding — combined with sparse but rhythmic playing of big-band sounding chords or bass lines. In Weather Report, he often employed a vocoder as well as pre-recorded sounds played (i.e. filtered and transposed) through a synthesizer, creating a very distinctive synthesis of jazz harmonics and "noise" ("using all the sounds the world generates").
About Joe Gordon
Joseph Henry "Joe" Gordon (May 15, 1928, Boston, Massachusetts - November 4, 1963, Santa Monica, California) was an American jazz trumpeter.
His first professional gigs were in Boston in 1947; he played with Georgie Auld, Charlie Mariano, Lionel Hampton, Charlie Parker (1953-55 intermittently), Art Blakey (1954), and Don Redman. In 1956 he toured the Middle East with Dizzy Gillespie's big band; he was a soloist on "A Night in Tunisia". Following this he played with Horace Silver. After moving to Los Angeles, he recorded with Barney Kessel, Benny Carter, Harold Land, Shelly Manne (1958–60) and Dexter Gordon. He recorded as a bandleader for two sessions, and appeared on one recording from Thelonious Monk.
About McCoy Tyner
McCoy Tyner (born December 11, 1938) is a jazz pianist from Philadelphia, Pennsylvania, known for his work with the John Coltrane Quartet and a long solo career.
Tyner was born Alfred McCoy Tyner in Philadelphia as the oldest of three children. He was encouraged to study piano by his mother. He began studying the piano at age 13 and within two years, music had become the focal point in his life. His early influences included Bud Powell, a Philadelphia neighbor. As a young man, he converted to Islam through the Ahmadiyya Muslim Community, and was active in the objectives of the organization during the pinnacle of his career.
Tyner's first main exposure came with Benny Golson, being the first pianist in Golson's and Art Farmer's legendary Jazztet (1960). After departing the Jazztet, Tyner joined Coltrane's group in 1960 during its extended run at the Jazz Gallery replacing Steve Kuhn. (Coltrane had known Tyner for a while in Philadelphia, and featured one of the pianist's compositions, "The Believer", as early as 1958.) He appeared on the saxophonist's popular recording of "My Favorite Things" for Atlantic Records. The Coltrane Quartet, which consisted of Coltrane on tenor sax, Tyner, Jimmy Garrison on bass, and Elvin Jones on drums, toured almost non-stop between 1961 and 1965 and recorded a number of classic albums, including Live at the Village Vanguard, Ballads, Live at Birdland, Crescent, A Love Supreme, and The John Coltrane Quartet Plays ..., on the Impulse! label.
Tyner has recorded a number of highly influential albums in his own right. While in Coltrane's group, he recorded a series of important albums (primarily in the piano trio format) for Impulse! Records. The pianist also appeared as a sideman in many of the highly acclaimed Blue Note Records albums of the 1960s, although was often credited as 'etc.' on the cover of these albums (when listing the sidemen on the album) in order to respect his contractual obligations at Impulse Records.
"The jazz is my life, my wife, my love."
His involvement with John Coltrane came to an end in 1965. Coltrane's music was becoming much more atonal and free; he had also augmented his quartet with percussion players who threatened to drown out both Tyner and Jones. This seemed to add to his drive and character about wanting to make music his own and unique. Tyner was somewhat bitter about the change in Coltrane's direction: "I didn't see myself making any contribution to that music... All I could hear was a lot of noise. I didn't have any feeling for the music, and when I don't have feelings, I don't play. By 1966, Tyner was rehearsing with a new trio and would now fully embark on his career as a leader.
After leaving Coltrane's group, Tyner produced a series of post-bop albums released on Blue Note Records from 1967 to 1970 which included The Real McCoy (1967), Tender Moments (1967), Time for Tyner (1968), Expansions (1968) and Extensions (1970). Soon thereafter he moved to the Milestone label and recorded many influential albums, including Sahara (1972), Enlightenment (1973), and Fly with the Wind (1976), which featured flautist Hubert Laws, drummer Billy Cobham, and a string orchestra. His music for Blue Note and Milestone often took the Coltrane quartet's music as a point of departure and also incorporated African and East Asian musical elements. On Sahara, for instance, Tyner plays koto, in addition to piano, flute, and percussion. These albums are often cited as examples of vital, innovative jazz from the 1970s that was neither fusion nor free jazz. Trident (1975) is notable for featuring Tyner on harpsichord (rarely heard in jazz) and celeste, in addition to his primary instrument, piano.
Tyner still records and tours regularly and played from the 1980s through '90s with a trio that included Avery Sharpe on bass and first Louis Hayes, then Aaron Scott, on drums. He made a trio of solo recordings for Blue Note, starting with Revelations (1988) and culminating with Soliloquy (1991). Today Tyner records for the Telarc label and has been playing with different trios, one of which has included Charnett Moffett on bass and Al Foster on drums. In 2008, Tyner toured with his quartet, which featured saxophonist Gary Bartz with Gerald Cannon (bass) and Eric Kamau Gravatt (drums).
McCoy was also a judge for the 6th and 10th annual Independent Music Awards to support independent artists' careers.
About Freddie Redd
Freddie Redd (born May 29, 1928, New York City) is an American hard bop pianist and composer.
After a period in the Army (1946-9) he worked with drummer Johnny Mills, and then in New York played with Tiny Grimes, Cootie Williams, Oscar Pettiford and the Jive Bombers. He toured Sweden in 1956 with Ernestine Anderson and Rolf Ericson. His greatest success came in the late 1950s in the play and movie The Connection, in which he both played and acted in New York City, London, and Paris. He also played on the soundtrack album. His success in the play did not help his career in the United States, however, and shortly after he moved to Europe. He returned to the United States in 1974. Although he has never been able to establish himself in the first rank of jazz figures, he has worked extensively with highly regarded musicians and recorded several albums as leader.
Note From Dada!
Μιας και αναφέρθηκα στο πρηγούμενο post για την νέα γενιά που βασίστηκε ηχητικά πάνω σ' αυτό τον ήχο όπου το blues με την ψυχεδέλεια και το garage ανακεύονται μαζί σε ένα μείγμα, νομίζω ότι το Chulahoma των Black Keys που σας τρατάρω σήμερις είναι ένα απ' τα καλύτερα παραδείγματα. Εδώ η "πηγή έμπνευσης" ακούει στο όνομα Junior Kimbrough, ένας ξεχασμένος μπλουζίστας από το Μισισιπή, ο οποίος ενώ έπαιζε μουσική από την δεκαετία του 1960 έγινε τελικά γνωστότερος κάπου εκεί στις αρχές του 90 όταν ηχογράφησε για λογαριασμό της Fat Possum (της ίδιας εταιρείας άλλωστε είναι και το δισκάκι που σας τρατάρω) το δίσκο του "All Night Long". Καλά να είμαστε (αργά ή γρήγορα) θα ανεβάσω μερικά δισκάκια αυτού του αγαπημένου μπλουζίστα/μουσικού.
Όσο αφορά τώρα το όνομα του album - Chulahoma - αυτό ανήκει στο μουσικό στέκι που είχε στήσει ο Kimbrough στις αρχές του 90 και εκεί μαζευόντουσαν εκτός γνωστών και μη εξαιρετέων μουσικών όπως π.χ. ο Iggy Pop, o Keith Richards κ.α. και κάποιοι φίλοι του, όπως για παράδειγμα ο κολλητός του φίλος R.L.Burnside. Παρακάτω για να πάρετε μια πολύ καλή τζούρα και από τον ίδιο τον Kimbrough αλλά και από το στέκι του, σας ποστάρω ένα από τα πιο αγαπημένα μου videos με τον Junior να παίζει το "All Night Long".
Όσο άφορα τώρα τα δύο αυτά καλόπαιδα από το Ohio, η επιρρόη τους και το κόλλημά τους με τον Kimbrough δεν περιορίζεται μόνο σ' αυτό εδώ το album, καθώς και σε προηγούμενες δουλειές τους (βλ. The Big Come Up, Thickfreakness) ξαναδιασκεύασαν τον Kimbrough αλλά ήταν επίσης και ένα από τα πολλά σχήματα και καλλιτέχνες (Iggy & The Stooges, Mark Lanegan, Blues Explosion, Spiritualized κ.α.) οι οποίοι το 2005 κυκλοφόρησαν το δίσκο με διασκευές πάνω σε κομματια του Kimbrough με τίτλο Sunday Nights: The Songs of Junior Kimbrough.
Σας φιλώ στο μόντεμ! Radiodada
ΥΓ 1. Η "σύνδεση" των blues με την ηπειρώτικη μουσική (κυρίως λόγω της "κοινής" πεντατονικής κλίμακας) είναι γνωστή σε όλους φυσικά. Σε κάποιες συνθέσεις όμως και σε κάποιες ερμηνείες αυτού του album (π.χ. το Keep Your Hands Off Herπου ανοίγει και το δίσκο) πραγματικά χάνω τον μπούσουλα.
ΥΓ 2. Τετοιες μαλακίες γράφονται στα blog και μετά αναρωτιόμαστε για τις παπαριές που (ανα)τυπώνει στα βιβλία του ο Υπουργός Ναυτιλίας (παναγίτσα μου...όλα τα κακά μαζεμένα)
ΥΓ 3. Αν και το στέκι του Junior καήκε ολοσχερώς λίγα χρόνια μετά τον θανατό του, όσο υπάρχουν τέτοιες "τρωγλες" με τέτοιους θαμώνες και ανθρώπους με τέτοια βλέμματα, πραγματικά δεν φοβάμαι για τίποτα στον κόσμο αυτόν.
Junior Kimbrough - All Night Long
The Black Keys - Keep Your Hands Off Her
The Black Keys - Work Me
About The Black Keys
The Black Keys is an American blues-rock music duo consisting of vocalist/guitarist Dan Auerbach and drummer/producer Patrick Carney. The band was formed in Akron, Ohio in 2001.
Early history and The Big Come Up (2001–2002)
The Black Keys formed in 2001 and were active in the underground scene of Akron, Ohio. Their name comes from Akron, Ohio artist Alfred McMoore, who Auerbach's father—an art dealer—supported and who Carney's father - a newspaper reporter - interviewed, who used the phrase "black key" to indicate something was 'off-center' or 'not quite right'. The band released their debut album, The Big Come Up, in early 2002. The album was very successful for a new independent rock band. Along with their second album, it was recorded entirely in drummer Patrick Carney's basement on an 8-track tape recorder from the early 1980s. The album spawned two singles released as an extended play, "Leavin' Trunk" and "She Said, She Said". Both are cover songs; "Leavin' Trunk" is a traditional blues standard and "She Said, She Said" is originally by The Beatles. "I'll Be Your Man" would later be used as the theme for the HBO series Hung. "Breaks" was featured in the 2008 film RocknRolla.
Thickfreakness era (2003)
The band released Thickfreakness in April, 2003 which along with The Big Come Up was recorded on a Tascam 388 in Carney's basement in 14 hours. The album was favored by critics and spawned three singles: "Set You Free", "Hard Row" and a cover of "Have Love, Will Travel". "Set You Free" was featured on the soundtrack for School of Rock, as well as the 2009 comedy I Love You, Man.
The band released a split-EP with The Six Parts Seven on September 16, 2003, titled The Six Parts Seven/The Black Keys EP and featured one song by The Six Parts Seven and three songs by The Black Keys.
Rubber Factory and first live album (2004–2005)
Rubber Factory, the band's third album was released in 2004. During Thickfreakness and Rubber Factory, the band gained recognition and popularity, boosting their career. Rubber Factory was recorded in an abandoned factory in early 2004. The factory was located in Akron, but according to Carney, was finally torn down in early 2010. The album featured singles 10 A.M. Automatic, 'Til I Get My Way, and Girl Is On My Mind, released as an EP. "When the Lights Go Out" was used in trailers for the film Black Snake Moan and was featured in the erotic opening sequence with co-stars Christina Ricci and Justin Timberlake. Additionally, "10 A.M. Automatic" was used in Live Free or Die, The Go Getter, the soundtrack to MLB 06: The Show and an American Express commercial. The Go Getter also featured "Keep Me". "Grown So Ugly" was featured on Cloverfield and "Girl Is On My Mind" on Sony Ericsson and Victoria's Secret commercials. Around this time, they also opened for bands such as Pearl Jam, Beck, Radiohead and Sleater-Kinney.
In 2005, the band also released their first live video album, Live, recorded at The Metro Theatre in Sydney, Australia on March 18, 2005.
The Moan was an extended play which was released on January 19, 2004, featuring Have Love Will Travel, an alternate version of "Heavy Soul," and two covers.
Magic Potion and other releases (2006–2007)
The Black Keys released Chulahoma: The Songs of Junior Kimbrough, an EP with covers of songs by Junior Kimbrough. Kimbrough was a bluesman and the founder of Fat Possum Records, whom the band had previously covered on The Big Come Up. The EP was released on May 2, 2006. Four days later, The Black Keys released their second live album, Live in Austin, TX--also known as Thickfreakness in Austin--which was recorded October 24, 2003. Soon after, their fourth album dropped; Magic Potion was their first release on Nonesuch Records. The album featured three singles; "You're the One", "Your Touch", and "Just Got To Be". The latter was featured on the soundtrack to the video game, NHL 08. "Your Touch" was featured on the 2009 film Zombieland as well as the HBO series Eastbound & Down. The Black Keys recorded a cover of "The Wicked Messenger" for the soundtrack of I'm Not There and have recorded "If You Ever Slip", a song written by Jesse Harris for The Hottest State soundtrack.
Attack & Release and the Blakroc project (2008–2009)
Attack & Release, the band's fifth album, was produced by Danger Mouse and released on April 1, 2008, having leaked onto the internet by March 4. Attack & Release debuted at number 14 on the Billboard 200. The singles from the album were "Strange Times", "I Got Mine", and "Same Old Thing". "Strange Times" was featured in the video games Grand Theft Auto IV and NASCAR 09. "I Got Mine" was named the 23rd best song by Rolling Stone in its list of the 100 Best Songs of 2008. "I Got Mine" is used as the theme song for Canadian Police Drama TV Series The Bridge. "Lies" was used in episodes of Big Love and Lie to Me, and was covered by Kelly Clarkson live on her All I Ever Wanted Tour. "So He Won't Break" was featured on an episode of One Tree Hill. According to an interview in Pitchfork Media, the band was collaborating on an album with Ike Turner, to be produced by Danger Mouse and released in 2007, but the idea was rendered impossible with Turner's death in December 2007. "Some of the stuff we ended up recording sounds like Screamin' Jay Hawkins," said Carney.
Live at the Crystal Ballroom is a live video album released on November 18, 2008. It was filmed April 4, 2008 in Portland, Oregon at the Crystal Ballroom.
On October 17, 2008, The Black Keys was an opening act for fellow Akron-area band Devo at a special benefit concert at The Akron Civic Theater for presidential candidate Barack Obama. Chrissie Hynde of the Pretenders, also an Akron native and Firestone High School graduate, followed their set. In November, they toured through Europe together with Liam Finn. On June 6, 2009, The Black Keys performed along with The Roots, TV on the Radio, Public Enemy, Antibalas, and other acts at the 2nd Annual Roots Picnic on the Festival Pier in Philadelphia. They also joined the 9th annual Independent Music Awards judging panel to assist independent musicians' careers.
On February 10, 2009, vocalist and guitarist Dan Auerbach released his debut solo album, Keep It Hid. During this time, drummer Patrick Carney formed an indie band called Drummer, who are currently signed to Carney's Audio Eagle Records label. Drummer released their debut album Feel Good Together on September 29, 2009.
Blakroc is a collaborative album featuring The Black Keys and several hip hop artists released on Black Friday. The project was supported and brought together by Damon Dash, who is a big fan of the band. The album features rappers among the likes of Mos Def, RZA, Raekwon, Ludacris, Pharoahe Monch, Q-Tip, NOE, Jim Jones, Nicole Wray, M.O.P., and the late Ol' Dirty Bastard. The album was recorded in Brooklyn, New York. Auerbach said on the official Blakroc site, "Pat and I have been preparing for this record since we were 16.
Brothers (2010–present)
Brothers was released on May 18, 2010, featuring a 15 track listing. The song "Tighten Up" (featured on the FIFA 11 soundtrack) was released before the album as a single, along with "Howlin' for You" on the B-side. Brothers sold over 73,000 copies in its first week, giving it a #3 ranking on the Billboard Albums chart, their highest yet. The Brothers CD has a thin thermal film on the surface, which changes colors depending on the temperature of the surroundings and ranges from completely black to a creamy surface with writing when placed in a CD player. There are two cut tracks from this album that have been released as well. "Ohio" pays homage to the home of The Black Keys, and "Chop and Change" was featured on the soundtrack of The Twilight Saga: Eclipse.
The Black Keys also helped judge the 9th annual Independent Music Awards to support independent artists' careers.
Cultural references
The band is frequently compared to The White Stripes (also a blues-based musical duo of drums and vocals/guitar that started around the turn of the millennium) and the stylings and energy of The Jimi Hendrix Experience and blues artists, such as Junior Kimbrough, Muddy Waters and Elmore James. Led Zeppelin frontman Robert Plant, Josh Homme of Queens of the Stone Age, Billy Gibbons of ZZ Top, and Thom Yorke and Jonny Greenwood of Radiohead are all fans of the band. Metallica guitarist Kirk Hammett has also stated in an interview that he enjoys listening to them. Arctic Monkeys' drummer Matt Helders can be seen in a Black Keys t-shirt in an interview on MTV's RAW.
Rating: 7/10 Sound Quality: Lossless Format: Flac Record Label: Cadet (Original) Geffen Records (Reissue) Year Released: 1969 (Original), 2011 (Reissue) Album Covers: Included Pass: radiodada
Note From Dada!
1. Επειδή καμιά φορά ξεχνάω ποια δισκάκια έχω ανεβάσει σε ετούτο το μπλογκκαι ποια όχι (εεε έχουν φτάσει περίπου τα 700 - δεν είναι και λίγα...) και νόμιζα ότι αυτό ο δισκάκι του Wolf το είχα μοιραστεί μαζί σας
2. Επειδή το εν λόγω album του "Λύκου" είναι από τα αγαπημένα μου
3. Επειδή από αυτόν εδώ τον δίσκο (και μερικούς ακόμα) μπορεί κανείς να καταλάβει από πούθε προέκυψε αυτή η "σύγχρονη" σκηνή της "γκαραζομπλουζοψυχεδέλειας" (βλ. The Black Keys, The White Stripes και πάει λέγοντας)
4. Και τέλος επειδή ως γνωστόν ο "Λύκος" είναι ομαδικό πλάσμα σας τρατάρω λοιπόν ένα ακόμα δισκάκι του Howlin Wolf.
Σας φιλώ στο μόντεμ! Radiodada
Σύνθεση μουσικών:
Howlin' Wolf: guitar, harmonica, vocals
Gene Barge: horn, electric sax
Pete Cosey: guitar, bowed guitar
Hubert Sumlin: guitar
Roland Faulkner: guitar
Morris Jennings: drums
Don Myrick: flute
Louis Satterfield: bass
Phil Upchurch: bass, guitar
Howlin Wolf - Smokestack Lightnin
Howlin Wolf - Evil
About Howlin Wolf
Chester Arthur Burnett (June 10, 1910 – January 10, 1976), known as Howlin' Wolf, was an influential American blues singer, guitarist and harmonica player.
With a booming voice and looming physical presence, Burnett is commonly ranked among the leading performers in electric blues; musician and critic Cub Koda declared, "no one could match Howlin' Wolf for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits." A number of songs written or popularized by Burnett—such as "Smokestack Lightnin'", "Back Door Man", "Killing Floor" and "Spoonful"—have become blues and blues rock standards.
At 6 feet, 6 inches (198 cm) and close to 300 pounds (136 kg), he was an imposing presence with one of the loudest and most memorable voices of all the "classic" 1950s Chicago blues singers. This rough-edged, slightly fearsome musical style is often contrasted with the less crude but still powerful presentation of his contemporary and professional rival, Muddy Waters. Howlin' Wolf, Sonny Boy Williamson (Rice Miller), Little Walter Jacobs, and Muddy Waters are usually regarded in retrospect as the greatest blues artists who recorded for Chess in Chicago. Sam Phillips once remarked, "When I heard Howlin' Wolf, I said, 'This is for me. This is where the soul of man never dies.'" In 2004, Rolling Stone magazine ranked him #51 on their list of the "100 Greatest Artists of All Time".
Note From Dada!
Ώτα μου γεια χαρά και καλό μήνα. Τόσο "Λύκο που Αλυχτάει" δεν θα βρείτε ούτε στα βουνά της Πίνδου!
Τέσσερα Cds, 97 κομμάτια, 40 σελίδες πληροφοριακό υλικό και μία απ' τις καλύτερες εκδόσεις που τουλάχιστον προσωπικά διαθέτω στη δισκοθήκη μου (μπορώ με ευκολία να πω και μία απ΄ τις καλύτερες αισθητικά που έχω δει ) αποτελούν πραγματικά ένα "μουσικό θησαυρό". Όσο για το πρωταγωνιστή αυτής της συλλογής τα λόγια είναι περιττά. Προσωπικά για εμένα ο Wolf (κατά κόσμονChester Arthur Burnett) είναι ίσως απ' τις πιο ιδιαίτερες και πιο "συμπαγής" προσωπικότητες του blues. Κι όταν λέω συμπαγής το εννοώ...1.98μ και 136 κιλά βάρος δεν είναι λίγο πράγμα. Πέρα απ' την πλάκα όμως τον εν λόγω επίθετο το χρησιμοποίησα επειδή ο Wolf είναι από εκείνη την "πάστα μουσικών" που δεν υπάρχει περίπτωση να τον ακούσεις πρώτη φορά και να μην αναρωτηθείς "τι είναι τούτο?" και δεν υπάρχει περίπτωση να τον ακούσεις δεύτερη φορά και να μην ξέρεις "τι είναι αυτό που ακούς". Από την μπάσα και επιβλητική του φωνή, τον ξεχωριστό του τρόπο ερμηνείας του μέχρι κι εκείνο τον αρκετές φορές "γκαραζομπλούζ" (ας μου επιτραπεί η έκφραση) ήχο της κιθάρα του και την αναγνωριστική του φυσαρμόνικα, ο Wolf στα δικά μου αυτιά αποτελεί μία ξεχωριστή περίπτωση μουσικού και καλλιτέχνη. Και επειδή εμένα μπορεί να με έχετε και ολίγον τι χεσμένο (και δεν σας παρεξηγώ καθόλου...) ο Sam Philips όμως (παραγωγός, μηχανικός ήχου και ιδρυτής της Sun Records) που έκανε ηχογραφήσεις του Elvis, του Johnny Cash, του Jerry Lewis, του B.B King και δεν συμαζέυεται...θεωρούσε ότι ο Wolf μπορεί να μην ήταν ο πιο χαρισματικός και ταλαντούχος απ' όλους σίγουρα όμως ήταν ο πιο εμπνευσμένος!
Άλλωστε σε κάποια του αναφορά για τον Wolf (με απόσπασμα της οποίας ανοίγει αυτή η εξαιρετική έκδοση) ο Philips δήλώνε τα εξής:
"Θεέ μου! και τι δε θα έδινα να τον ξαναδώ στο στούντιό μου... Να ξαναδώ εκείνη τη ζεστασιά στο προσωπό του, να ακούσω εκείνη την αγνή ενσικτώδη ποιότητα στη φωνή αυτού του ανθρώπου..."
Καλή ακρόαση Radiodada
ΥΓ.1 Την "πρόγευση" για αυτή τη συλλογή τι θεώρησα φυσικά περιττή ... Όμως στο τόσο και πάντα επίκαιρο "Spoonful" δεν μπόρεσα να αντισταθώ με τίποτα!
Chester Arthur Burnett (June 10, 1910 – January 10, 1976), known as Howlin' Wolf, was an influential American blues singer, guitarist and harmonica player.
With a booming voice and looming physical presence, Burnett is commonly ranked among the leading performers in electric blues; musician and critic Cub Koda declared, "no one could match Howlin' Wolf for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits." A number of songs written or popularized by Burnett—such as "Smokestack Lightnin'", "Back Door Man", "Killing Floor" and "Spoonful"—have become blues and blues rock standards.
At 6 feet, 6 inches (198 cm) and close to 300 pounds (136 kg), he was an imposing presence with one of the loudest and most memorable voices of all the "classic" 1950s Chicago blues singers. This rough-edged, slightly fearsome musical style is often contrasted with the less crude but still powerful presentation of his contemporary and professional rival, Muddy Waters. Howlin' Wolf, Sonny Boy Williamson (Rice Miller), Little Walter Jacobs, and Muddy Waters are usually regarded in retrospect as the greatest blues artists who recorded for Chess in Chicago. Sam Phillips once remarked, "When I heard Howlin' Wolf, I said, 'This is for me. This is where the soul of man never dies.'" In 2004, Rolling Stone magazine ranked him #51 on their list of the "100 Greatest Artists of All Time".
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