"Cuando éste mundo estalle y el átomo nos falle, cuando esos cabrones aprieten los botones, y lanzen sus misilies a lo loco, yo aquí estaré, sacándome los mocos". Con esa estrofa comienza ésta nueva propuesta para el camino; un blues que explica mejor que cualquiera en que consiste la postmodernidad, espíritu que prevalece incluso en generaciones que rondan los 20 años. "Este mundo esta de hueva", dice Virulo, en una actitud crítica bastante cómica, pero con gran fondo sociológico acerca de la postura que muchos tienen ante lo que acontece en el mundo. "Y cuando en el futuro pregunten, de seguro, que cómo fue que hicimos, que todo lo jodimos, a mi que no me vengan con mamadas, yo no hice nada". Esa es la filosofía pos... moderna brother!!! 

Música para gente con tres de dedos de frente, como mínimo, ya que los postmodernos se sentirán ofendidos por ésta canción.

Avedrio

Parte I

Parte II

1. "9:20 Special" - Count Basie & Oscar Peterson - Night Rider: 1978
2. "All Blues" - Joe Baione - Oh Yeah!: 2008
3. "I'll Let You Know" - Cedar Walton - Roots: 1999
4. "Delauney's Dilemma" - Ray Brown with Monty Alexander - Summerwind: 1980
5. "Centerpiece" - Roberta Gambarini - Easy to Love: 2006

9:30ish

6. "String Thing" - Howard Alden - Howard Alden/Frank Vignola/Jimmy Bruno: 1995
7. "Donna Lee" - Howard Alden - Howard Alden/Frank Vignola/Jimmy Bruno: 1995
8. "Still in Love" - Myriam Alter - Where is There: 2008
9. "It Could Be There" - Myriam Alter - Where is There: 2008
10. "I Mean You " - Thelonius Monk & Gerry Mulligan - 'Round Midnight: 1957

10:00ish

11. "Blight of the Fumble Bee" - Paul Desmond/Gerry Mulligan - Two of a Mind: 1962
12. "Swahililand" - Ahmad Jamal - It's Magic: 2008
13. "Everybody's Jumpin'" - Dave Brubeck Qrt - Time Out: 1959
14. "Ahmad's Blues " - Red Garland - Red's Blues: 1959
15. "Scotch & Soda" - Giacomo Gates - Centerpiece: 2004

10:30ish

16. "Softly, As In A Morning Sunrise" - Robert Jospé - Time to Play: 2002
17. "It's About Time" - George Melvin & Miss Lucy - It's About Time
18. "I Could Write a Book" - Miles Davis Quintet - Relaxin' with the Miles Davis Quintet: 1956
19. "Funkallero" - Herbie Mann - Peace Pieces (comps of Bill Evans): 1995

11:00ish

20. "Dance Like There's No Tomorrow" - John Ellis & Doublewide - Dance Like There's No Tomorrow: 2008
21. "On The Loose" - John Abercrombe - Cat 'n' Mouse: 2002
22. "E.S.P." - Bill Watrous, Pete Christlieb, Gary Urwin Orch. - Kindred Spirits: 2006
23. "Orbits " - Miles Davis Quintet - W LP Miles Smiles: 1966
24. "The Earth Wants You" - Mose Allison - (Profile): The Earth Wants You: 1993

11:30ish

25. "Something You Got" - Henry Butler - PiaNOLA Live: 2008
26. "Mardi Gras Day" - Kermit Ruffins With the Rebirth Brass Band - Throwback: 2005
27. "Rainy Day Blues" - Willie Nelson/Wynton Marsalis - Two Men with the Blues: 2008
28. "Time After Time" - Gene Harris & Jack McDuff - Downhome Blues: 1996

Ideenreichtum ist in solchen Zeiten ein willkommener Besucher und wird immer wieder hereingebeten. Vollkommen erwünscht und angenommen. Akzeptiert.

Ideen sind kugelsicher.

Schwelge in Gedanken an die genialste Comic-Verfilmung seit Menschengedenken, aber Menschen gedenken nicht sonderlich gerne. Nicht auf lange Zeit. Bald kommt dann wieder das große Vergessen. Amnesie und weg ist es. Das Unerwünschte. Dann kommen die bösen Erinnerer, meist unerwünscht und rufen wach. Nerven wohl nach einer Zeit, denn wer erinnert heute schon gerne an unschöne Zeit? Ich nicht. Ich denke nicht gerne daran. Schön soll das Leben sein. Möglichst lang. Durch Medikamente vollgepumpt verlernt der Mensch aufrecht zu gehen. Aber egal. Der Mensch war in meinen Augen nie mehr als ein Tier. Wir können kriechen.Verdient hätten wir es wohl, denn wem wir was, wann wie angetan haben.. Irgendwann müssen wir dafür büßen. Aber bloß nicht heute. Morgen. Übermorgen. In der Hölle. Nur nicht jetzt. Lebe den Zeitpunkt, das Leben. Lebe vor dich hin und vergesse das WIchtigste nicht. Eine Ladung Spaß, denn anders macht Leben keinen Spaß. Keinen Sinn?

Wer entscheidet was und wer lebenswert ist? Darf über Leben und Tod bestimmen? Wer legt die Norm fest und was normal und abnormal ist? Wer zeigt mir all diese Menschen und lässt mich glauben, dass alles mit rechten Dingen zugeht, aber.. Kann etwas, dass der Mensch anfasst mit rechten Dingen zugehen? Manipulieren wir nicht alles oder versuchen wir es nicht wenigstens? Will der Mensch nicht alles begreifen? Alles beherrschen und zu Tode töten?

Wieso müssen wir eigentlich umbringen? Wieso Tier, Pflanzen und Menschen? Um zu überleben. Das war es wohl früher, aber heute? Heute wird verdammt viel weggeworfen. Tiere mussten umsonst sterben. Verfaulen. Wir nehmen ihnen den Platz zum Leben. Wir nehmen nur. Geben kaum. Wie viele Menschen machen sich Gedanken, wenn sie einen Supermarkt betreten? Alles hell beleuchtet.

Wie würde ein Planet ganz ohne Menschen aussehen? Friedlicher? Könnte alles in Frieden leben und sterben? Muss es denn so sein wie es ist?

Wieso habe ich es langsam satt? Alles miteinander, dass ich mir denken muss, Menschen zu hassen. Wir sind einfach solche verabscheungswürdige Wesen. Jeden Tag den ich länger hier auf dem Erdball verweile wird es klarer und klarer. Manchmal wünschte ich mir, dass uns irgendeine Pest dahinraffen würde und sich dann alles wieder erholen kann. Atomkrieg? Überwachung? Polarkappenschmelzung? All das wäre von gestern. Die Natur würde sich zurückerobern was wir ihr genommen haben und dann ?

I've always loved the cry of a good steel or slide guitar. Recently I've been inspired to get off my ass and learn how to play one. It's a little tough, but definitely fun to learn something new. You can do so much with a slide, it's unreal.

WHAT THE??? Little does he know of my anti-religious leanings - however since visiting Buddhist Thailand those leanings have been repudiated slightly by the lifestyle of some very nice people I met.

Can anything even be repudiated slightly? That was the first time I've ever used the word and it just slipped out somehow. I guess that's what happens when you practice writing, like when writing blogs.

I saw The Dark Knight last night, something I've been waiting on for quite a while. I wrote a post about it before Heath Ledger died. After he died I received several thousand hits in a single day! They obviously didn't find my blog interesting enough to return. Stuff 'em.

Nothing is more irritating than finally seeing a movie you've been anticipating for so long, than having a cinema full of gigglers and chatters. I. Fucking. Hate. It. Somewhere in the cinema a group of about three or four girls were talking and giggling FOR THE WHOLE TWO AND A HALF HOURS! I would've told them to shut up but they were too far away. I've seen those situations before and they only get worse, people never shut up.

The worst part was that they laughed when moments were meant to be serious, such as the first time you see Two-Face's face or when the Joker is wearing a nurses outfit. OK, the latter was meant to be kind of funny, but it's not a laugh out loud moment.

I tried to eye them out after the movie but I couldn't pick out which ones they were, so instead on the way out I just commented very loudly to my mates about annoying bitches who giggle during movies.

I'm so tough.

In order to combat my Post-Vacation Blues, I'm trying to follow the recommended technique of easing my way back into my routine and to take the positive things I learnt on the trip and implementing them into my life. Hmm...

No. I think I'll just jump head-first back into uni work (since I did that last semester and finally got straight A's) and try to squeeze the holiday out of my mind for a while. As for implementing the positive things I learnt? Not sure how to do that one.

http://thisdevilsworkday.wordpress.com/

Kinda like Schoolhouse Rock, only better.

This little ditty must be seen to be believed.

 Album: Brighter Than Creations Dark

Artist: Drive By Truckers

You will be interested in this music if you are a fan of: Neil Young, Rolling Stones, Lynyrd Skynyrd, Southern Rock in general, & Old School Country Worth Buying?: YES The Entire Album.

Tell me more: The best way I can describe this band is to call them the “Thinking man’s Lynard Skynard”. This band has already received huge critical acclaim for their massive 2 CD concept album “Southern Rock Opera”. But I think newcomers would be better served by checking out this album first. I feel that this is their best to date and their most accessible. The songs jump between rough rockers, authentic old school country, humorous musing, and dark haunting introspection (and sometimes within the same song). Clocking in at a whopping 19 tracks on 1 CD, the album credits splits it’s songs into 4 album sides (Like the glory days of Vinyl). The CD comes beautifully packaged as a digipak with excellent artwork and a large lyric booklet too which is a good thing because you will want to sit with the lyrics and read them as you listen. 

Click here to listen

What if I am not ready to buy the whole CD?: Try just downloading Bob A humorous character study performed in an old school country music style or That Man I Shot A dark rocker, about an American soldier in Iraq who ponders about the enemy he had to shoot in self defense

A lot of things happen here and there.

Since all tv series that I downloaded (except fated to love you) are on hiatus, life's become a lil bit boring. Huhu.. And internet connection sucks nowdays making me frustrating every Monday. I've to refresh the page a few times when watching fated to love you. The series getting more and more interesting. And every episode is funny.

Moving on, supposedly this semester I'll be busy with my proposal writing. But, until now, I haven't started anything yet. I even don't have a title yet, and the submission date is 30th August. Hoho.. I can already imagine the pressure when the deadline is near. Literature review would take forever and with my 'last-minute' attitude, go figure..

What else? Although  there's a l ot of things seems to be going on this past 3 months, nothing worth telling.. :P Life is like a broken record. The same routine everyday, nothing out of ordinary.

*thinking deep*

Hmm...

My friends and I had a bit of a laugh at that, since I was saying that this is an investment album for future "baby making purposes".  But honestly, his voice is incredibly smooth and his music just puts you in a relaxed mood for sure.  I'm not a huge fan of jazz and blues, but "Let's Stay Together" is just a perfect song for lovin' up on life (and your significant other as well), n'est-ce pas?

I'm going to have to make space on my Ipod for this new addition - anyone wanna just buy me a new ipod with 7805427054 gigs of space?  hahaha...

Cedric Burnside is touring with Lightnin' Malcolm, with whom he recorded the album Juke Joint Duo. Don't think you know of him? You do if you've seen Black Snake Moan; he was the drummer in Samuel L. Jackson's band in the movie. Meanwhile, Malcolm's first solo album, Juke Joint Dance Party, made him the number-one most requested artist on XM Radio in the summer of 2005. This is a huge show, blending a true Delta-blues pedigree with young (Cedric and Malcolm were born in 1978 and 1974, respectively) talent. We sincerely hope you'll join us. Mark your calendars!

TheFourFour.com, Nathan P. Murphy's & Dr. Bob Presents:
Cedric Burnside and Lightnin' Malcolm
Friday, Sept. 26
Nathan P. Murphy's

Website

Source Link

Swampdawamp is crankin it up again and getting those southern fried rock and blue fires burnin! On this teaser, titled 2.0 a Special Edition pre release CD, they are offering up three studio tracks and interviews and a rehearsal recording. The boys sound like they are ready to release another great album sometime later this year...READ MORE...

How do you critique an icon, especially one who may well be on her way to becoming a legend? A popular artist who has earned the respect of fans and fellow artists alike and garnered an impressive number of awards and accolades can present a daunting challenge to the reviewer. A new or little-known artist presents only the challenge of evaluating the work itself: the craft, skill and potential of the artist. The only baggage, if any, is brought to the process by the reviewer's own experience. To review a star, whether established or rising, presents a whole other set of problems. Whether the reviewer praises, criticizes, or presents a balanced picture of the work under review, the process can feel like a no-win situation. The reviewer who offers the artist only praise can be seen as an uncritical fan. The reviewer who points out flaws in the performace or suggests areas for improvement may experience the ire of fans who have elevated the artist to perfection. A balanced and fair reviewer may come under attack from both sides, who see only the bits with which they disagree. What's an honest reviewer to do?

Reaching at random deep into my backlog, I found Where the Action Is, a six year old release by Canadian blues artist Sue Foley. Foley is a case in point. Starting in her teens, Foley has by now enjoyed a successful career of some 22 years. At forty, she's young as blues artists go, beautiful, and has opened for and played with the top Canadian and American blues artists. She has a powerful singing style and guitar licks to match the best of them. If she's not a star already, then she's certainly a blues-icon headed toward stardom. She has the prestigious honours to prove it. She's won the Canadian Maple Blues Award eighteen times and France's Trophée de blues three times. In 2002, the year Where the Action Is was released, she was nominated for W.C. Handy Award for best contemporary female artist. Foley is also a winner of the covetted Juno Award, Canada's equivalent to the American Grammy. Foley has eleven releases on CD as well as a live DVD Sue Foley, Live in Europe. Where the Action Is was produced by and features supporting performances by fellow Canadian blues-icon Colin Linden, who recruited some of North America's finest musicians to back up Foley's performances. How do you approach such a phenomenon with any sort of objectivity? Perhaps you don't.

Arguably, some of the best modern blues is being played and recorded in Canada. There's a large and supportive community of fans and players across The Great White North, and American artists often bring their own brand of blues north to perform and record in our largest cities. Ottawa's Sue Foley is part of that blues-movement, helping to popularize the form not only among the already-converted but among fans of folk music and Rock and Roll as well. She's become known from her native Ontario to the American South and from coast to coast across the continent. That she has a great deal of talent cannot be denied. Rather than take a narrow look at Foley as she is now or as she may have been when she recorded this, her eighth release, through the filter of Foley's work I'd like to draw upon a broader palette: Canadian blues, of which this release is an example.

Somewhere across the decades, the definition of The Blues both changed and blurred. This is normal for any genre of music that grows and reaches audiences beyond its roots. Jazz was once one recognizable form but now encompasses a wide range of forms and styles. Rock and Roll, itself the outgrowth of last century's ever-evolving music, evolved into Rock and a range of related styles. So it is with The Blues. In Canada, much of the blues music to be heard in local bars and on recordings would once have been called Rock and Roll. This blues is big, electric, and rocking. It's still The Blues but it's also so much more.

Fifty years ago, I was exposed to blues music a lot and never realized it. My parents had very eclectic musical taste, some of which extended to pop covers of blues songs, rocking blues-based country songs, rhythm and blues, and traditional blues. By my early teens, I was listening to static-ridden American radio and haunting second-hand stores for old records, buying them mostly because the titles interested me and not for any particular songs. A lot of what I bought was jazz, R & B, and blues music. I was in Calgary, far from the centres of this type of music. What I was buying was, I believed, up-tempo Rock and Roll and what was then sometimes called slow-rock. I realized later that sometimes the up-tempo numbers were blues-based Rockabilly, Country music, or covers of blues songs by mainstream artists and the slower songs were blues-based Rock and Roll, R & B, or even electric blues. When I discovered Alan Freed, a lot of what he had been calling Rock and Roll was in exactly this same blues-based vein. Cliff Richard's blues-based Rock and Roll was followed into Canada by the music of other British artists like The Rolling Stones, John Mayall so on. I was also listening to music from Europe, especially France, that had similar influences. It was not obvious to me in my teens that this music was particularly American. My idea of American blues was the very traditional, folksy guy and a guitar material: Josh White, Bill Broonzy, Leadbelly.

Sue Foley is substantially younger than I am. Even so, as a youngster in Canada, she would have been exposed to later versions of the same influences. It's easy to imagine that Foley's style may have been shaped by not just the blues in the music she heard but also the other forms with which that sound had been infused. There is a thin line between the electric blues of B. B. King, Muddy Waters (McKinley Morganfield), Willie Dixon, and others and the sounds of groups such as the Rolling Stones, Electric Light Orchestra, or John Mayall's Bluesbreakers. Perhaps there is no line at all but a subtle transition from the one to the other. In this, her eighth release, the Sue Foley I hear is walking that line, as much in the world of Rock and Roll as that of The Blues

Take, for example, Etta James' 1955 hit "Roll With Me Henry" (also known euphemistically as "The Wallflower"). An answer-song to the controversial hit "Work With Me Annie," released by Hank Ballard a year earlier, this song was on the leading edge of early Rock and Roll. While clearly blues-based, this song remains among the best of old-time Rock and Roll. Foley's remake of The Rolling Stone's "Stupid Girl" retains some of that Stones' sound but the rhythm section also carries strong echoes of ELO's "Don't Bring Me Down" and at times Richard Bell's organ brings to mind some of the harder-rocking songs of Dylan's early electric period. Much of the sound of "Two Bluebirds" also seems influenced by The Rolling Stones. "Gotta Keep Moving" reminds me of a couple of album tracks recorded by Chuck Berry, circa 1956. "Baby Where Are You?" and "Get Yourself Together" could easily have been recorded by Johnny Rivers forty years ago. Both songs definitely have his sound. A bit more bluesy, "Vertigo Blues" reminds me ever so much of Canned Heat's "On the Road Again" with a bit more of a Rock edge. Contrary to the hard-edge of most songs on this release, "Every Hour" is a very cool, soft R & B love song composed by Foley but sounding like it had been lifted straight out of 1953.

There's also an underlying country-music feel that surfaces in these songs from time to time and brings a bit of Rockabilly into the mix. A good part of this sense comes from Foley's voice and her vocal style. On this release at least, Foley reminds me less of Etta James or Ruth Brown than of the Rock and Roll vocal style epitomized by Rockabilly queen Wanda Jackson. I would say this is a good thing. Some Blues afficionados might disagree with me. See for yourself. Check out Foley's rocking style on her video of "Walking Home" or watch her slip even further to the Country side as she sings the classic "Careless Love" while on a 2006 tour in Europe. [Of course, neither of these songs is on the release we're discussing here and they serve only as illustration.]

Sue Foley is one of Canada's finest blues guitarists. That's not me saying so but her fans and her musician peers. She is also a fine vocalist with an excellent sense of the words she sings. Listening to her songs, her talent as a lyrist and composer is clear. Where the Action Is, her eighth release, can provide interesting insights into where this artist has been and where she's going. With eleven CD releases, a DVD of her concerts in Europe, and a new book soon to be released, Foley is one of Canada's rising stars. I may hear a lot of great Rock and Roll in this music but, at root, at the heart of everything Sue Foley does is The Blues.

Discover Sue Foley at SueFoley.com where you'll also find the two performance videos included in this review plus two more. If you go to Myspace, you can hear four of Sue Foley's songs.

Support this independent roots music CD reviews blog.

As formulated by Thomas Dorsey, gospel music combines Christian praise with the rhythms of jazz and the blues. Thomas' conception also deviates from what had been, to that time, standard hymnal practice by referring explicitly to the self, and the self's relation to faith and God, rather than the individual subsumed into the group via belief.

Thomas Dorsey was the music director at Pilgrim Baptist Church in Chicago from 1932 until the late 1970s. Thomas' best known composition, "Take My Hand, Precious Lord", was performed by Mahalia Jackson and was a favorite of the Rev. Martin Luther King Jr, and "Peace in the Valley", which was a hit for Red Foley in 1951 and has been performed by dozens of other artists, including Elvis Presley and Johnny Cash.

In 2002, the Library of Congress honored his album Precious Lord: New Recordings of the Great Songs of Thomas A. Dorsey (1973), by adding it to the United States National Recording Registry.

Thomas Dorsey's father was a minister and his mother a piano teacher. Thomas Dorsey learned to play blues piano as a young man. After studying music formally in Chicago, he became an agent for Paramount Records. Thomas Dorsey put together a band for Ma Rainey called the "Wild Cats Jazz Band" in 1924.

Thomas Dorsey started out playing at rent parties with the names Barrelhouse Tom and Texas Tommy, but he was most famous as Georgia Tom. As Georgia Tom, he teamed up with Tampa Red (Hudson Whittaker) with whom he recorded the raunchy 1928 hit record "Tight Like That", a sensation, selling seven million copies. In all, he is credited with more than 400 blues and jazz songs.

Personal tragedy led Thomas Dorsey to leave secular music behind and began writing and recording what he called "gospel" music. Thomas Dorsey was the first to use that term. Thomas Dorsey's first wife, Nettie, who had been Rainey's wardrobe mistress, died in childbirth in 1932 along with his first son. In his grief, he wrote his most famous song, one of the most famous of all gospel songs, "Take My Hand, Precious Lord".

Unhappy with the treatment received at the hands of established publishers, Thomas Dorsey opened the first black gospel music publishing company, Thomas Dorsey House of Music. Thomas Dorsey also founded his own gospel choir and was a founder and first president of the National Convention of Gospel Choirs and Choruses.

Thomas Dorsey's influence was not limited to African American music, as white musicians also followed his lead. "Precious Lord" has been recorded by Elvis Presley, Mahalia Jackson, Aretha Franklin, Clara Ward, Roy Rogers, and Tennessee Ernie Ford, among hundreds of others. It was a favorite gospel song of the Rev. Martin Luther King, Jr. and was sung at the rally the night before his assassination, and at his funeral by Mahalia Jackson, per his request. It was also a favorite of President Lyndon B. Johnson, who requested it to be sung at his funeral. Thomas Dorsey was also a great influence on other Chicago based gospel artists such as "Queen of Gospel" Albertina Walker and The Caravans.

Thomas Dorsey wrote "Peace in the Valley" for Mahalia Jackson in 1937, which also became a gospel standard. Thomas Dorsey was the first African American elected to the Nashville Songwriters Hall of Fame and also the first in the Gospel Music Association's Living Hall of Fame. Thomas Dorsey was inducted into the Gennett Records Walk of Fame in 2007. Thomas Dorsey papers are preserved at Fisk University, along with those of W.C. Handy, George Gershwin, and the Fisk Jubilee Singers.

The works of Thomas A. Dorsey have proliferated beyond performance, into the hymnals of virtually all American churches and of English-speaking churches worldwide.

Thomas Dorsey was a member of the Omega Psi Phi Fraternity, Incorporated.

In 2007, he was inducted as a charter member of the Gennett Records Walk of Fame in Richmond, Indiana.

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