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Hach, ich bin froh seinerzeit dem Jörg diese Boxen so dringend empfohlen zu haben…
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http://www.radiostonefm.de/ Wenn es um Menschenleben geht, ist es zweitrangig, dass der Dax einbricht und das Bruttoinlandsprodukt schrumpft.Highlights von Rolling-Stone.deROLLING-STONE-Guide: Alle Alben von Radiohead im Check
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Wie MTV 1981 die Musikwelt revolutionierte
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Werbung3. James Brown – Say It Loud (I’m Black and I’m Proud) (Parts 1 & 2) (James Brown–Alfred „Pee Wee“ Ellis)
von: Single (King, 1968; R & B #1, Pop #10) (von: Foundations of Funk – A Brand New Bag: 1964–1969, 2 CD, Polydor, 1996)Die Single erschien im August 1968 und hielt sich sechs Wochen lang auf Platz 1 der R & B-Charts. Der Song entstand inmitten einer schwierigen Zeit – Brown hatte den Bezug zu den wichtigen afro-amerikanischen Strömungen verloren, wurde für seinen Truppenbesuch in Vietnam kritisiert ebenso wie für seine Ansichten. Die Zeitung der Nation of Islam, „Muhammad Speaks“, stellte seine Loyalität in Frage. Der Song kam Brown mitten in der Nacht in den Sinn, am nächsten Tag ging man gleich ins Studio. Pee Wee Ellis half, das Stück zu arrangieren, Drummer Clyde Stubblefield trug ebenfalls zum Arrangement bei. Das Stück lebt von der Lead-Gitarre Jimmy Nolens und den rohen Background-Vocals. Brown beauftragte (seinen künftigen Manager) Charles Bobbit damit, ein paar Kids aufzutreiben und dieser brachte, wen er in der Nähe des Studios in Van Nuys so auftreiben konnte – „‚We kept it quiet that most of the kids on the record were Asian or white‘, [Bobitt] said with a chuckle years later“ (aus den Liner Notes zu: „The Singles, Volume Five: 1967–1969“, 2 CD, Hip-O-Select/Universal, 2007).
Uh, with your bad self
Say it louder (I got a mouth)
Say it louder (I got a mouth)Look a’here, some people say we got a lot of malice
Some say it’s a lotta nerve
I say we won’t quit moving
Til we get what we deserve
We’ve been buked and we’ve been scourned
We’ve been treated bad, talked about
As just as sure as you’re born
But just as sure as it take
Two eyes to make a pair, huh
Brother, we can’t quit until we get our shareSay it loud,
I’m black and I’m proud
Say it loud,
I’m black and I’m proud, one more time
Say it loud,
I’m black and I’m proud, huhI’ve worked on jobs with my feet and my hands
But all the work I did was for the other man
And now we demand a chance
To do things for ourselves
we tired of beating our heads against the wall
And working for someone elseSay it loud,
I’m black and I’m proud
Say it loud,
I’m black and I’m proud
Say it loud,
I’m black and I’m proud
Say it loud,
I’m black and I’m proud, ooweeOoowee, you’re killing me
Alright uh, you’re out of sight
Alright, so tough, you’re tough enough
Ooowee uh, you’re killing me, oowSay it loud,
I’m black and I’m proud
Say it louder,
I’m black and I’m proudNow we demand a chance to do things for ourselves
We’re tired of beating our heads against the wall
And working for someone else
A look a’here,
One thing more I got to say right here
Now, we’re people like the birds and the bees
We rather die on our feet,
Than keep living on our kneesSay it loud,
I’m black and I’m proud, hu
Say it loud,
I’m black and I’m proud, hu
Say it loud,
I’m black and I’m proud, Lord’a Lord’a Lord’a
Say it loud,
I’m black and I’m proud, oooohUh, alright now, good Lord
You know we can do the boog-a-loo
Now we can say we do the Funky Broadway!
Now we can do, hu
Sometimes we dance, we sing and we talk
You know I do like to do the camel walk
Alright now, hu, alright,
Alright now, haSay it loud,
I’m black and I’m proud
Say it louder,
I’m black and I’m proud, let me hear ya
Say it louder,
I’m black and I’m proud
Say it louder,
I’m black and I’m proudNow we’s demands a chance to do things for ourselves
We’re tired of beating our heads against the wall
And working for someone else, hu
Now we’re our people, too
We’re like the birds and the bees,
But we’d rather die on our feet,
Than keep a’living on our kneesSay it louder,
I’m black and I’m proud
Say it louder,
I’m black and I’m proud, let me hear ha’, huh
Say it loud,
I’m black and I’m proud, hu
Say it louder,
I’m black and I’m proud
Say it louder,
I’m black and I’m proudOooow, oowee, you’re killing me, alright
Uh, outa sight, alright you’re outa sight
Ooowee, oh Lord,
Ooowee, you’re killing me
Ooowee, ooowee, ooowee, ooowee, owSay it loud,
zuletzt geändert von gypsy-tail-wind
I’m black and I’m proud, hu
Say it louder,
I’m black and I’m proud , Lord I feel it
Say it loud,
I’m black and I’m proud
Say it louder,
I’m black and I’m proud--
"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #165: Johnny Dyani (1945–1986) - 9.9., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbaIch lausche fasziniert; die Abfolge von #2 und #3 ist schon ein Hammer…
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Software ist die ultimative Bürokratie.super, dass du die texte mitpublizierst.
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Yeah!
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Radio StoneFM | "Solos come and go. Riffs last forever." (Keith Richards) | The fact that there's a highway to hell but only a stairway to heaven says a lot about anticipated traffic numbers.vorgartensuper, dass du die texte mitpublizierst.
Das beinhaltete einen halben Nachmittag Redigieren damit sie halbwegs vernünftig daherkommen – obwohl Dich hätte die konsequente Kleinschreibung bei Oscar Brown Jr. ja gerade nicht gestört
– und obendrein einiges Abtippen, aber ja, gehört dazu. Dafür gibt es keine Kommentare, die sind aber auch nicht nötig.
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #165: Johnny Dyani (1945–1986) - 9.9., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbademonIch lausche fasziniert; die Abfolge von #2 und #3 ist schon ein Hammer…
Ja. Track 2 hat mich nur noch stumm und regungslos lauschen lassen.
Und James Brown lässt wieder Bewegung zu, nein, er zwingt einen, sich zu bewegen. He’s black and proud.--
there's room at the top they are telling you still but first you must learn how to smile as you kill
AnonymInaktivRegistriert seit: 01.01.1970
Beiträge: 0
Großartig….immer wieder!
Und Hallo Tobias
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4. Marion Brown – Karintha (Marion Bown–Jean Toomer)
von: Geechee Recollections (Impulse!, 1973; CD: Geechee Recollections/Sweet Earth Flying, Universal, 2011)Jean Toomer (1894–1967, oben sein Pass aus dem Jahr 1926) war einer der wichtigsten Exponenten der „Harlem Renaissance“, sein Buch „Cane“ gehört zu den wichtigen Werken des vergangenen Jahrhunderts. Andrew Hill hat Toomer mit „Dusk“ (Palmetto, 2000) ein ganzes Album gewidmet, doch Toomer wurde schon kurz nach seinem Tod von Marion Brown (1931–2010) gewürdigt, seinerseits ein wichtiger wenngleich schon zu Lebzeiten nahezu vergessener Vertreter der ersten Welle des Free Jazz. „Karintha“ steht am Anfang von „Cane“, erschien aber 1923 auch separat – mit einer interessanten Lese-Anweisung, die Brown gewissermassen umgesetzt hat, wenngleich die Musik fünfzig Jahre später ganz anders klang, als Toomer es sich gedacht hätte.
KARINTHA
(To be read, accompanied by the humming of Negro folk-song)
Her skin is like dusk on the eastern horizon,
can’t you see it, can’t you see it,
Her skin is like dusk on the eastern horizon
… When the sun goes down.Men had always wanted her, this Karintha, even as child, Karintha carrying beauty, perfect as dusk when the sun goes down. Old men rode her hobby-horse upon their knees. Young men danced with her at frolics when they should have been dancing with their grown-up girls. God grant us youth, secretly prayed the old men. The younger fellows counted the time to pass before she would be old enough to mate with them. This interest of the male, that wishes to ripen growing thing too soon, could mean no good to her.
Karintha, at twelve, was wild flash that told the other folks just what it was to live. At sunset, when there was no wind, and the pinesmoke from over by the saw-mill hugged the earth, and you couldn’t see more than few feet in front, her sudden darting past you was bit of vivid color, like black bird that flashes in the light. With the other children one could hear, some distance away, their feet flopping in the two inch dust. Karintha’s running was whir. It had the sound of the red dust that sometimes makes spiral in the road. At dusk, during the hush just after the mill had closed down, and before any of the women had started their supper-getting-ready songs, her voice, Wgh-pitched, shrill, would put one’s ears to itching. But no one ever thought to make her stop because of it. She stoned the cows, and beat her dog, and fought the other children … Even the preacher, who caught her at mischief, told himself that she was as innocently lovely as November cotton-flower. Already, rumors were out about her. Homes in Georgia are most often built on the two-room plan. In one, you cook and eat, in the other is where you sit and sleep, and where love goes on. Karintha had seen or heard, perhaps she had felt her parents loving. One could but imitate one’s parents, for to follow them was the way of God. She played home‘ with small boy who was not afraid to do her bidding. That started the whole thing. Old men could 110 longer ride her hobby-horse upon their knees. But young men counted faster.
Her skin is like dusk,
can’t you see it,
Her skin is like dusk
When the sun goes down.Karintha is woman. She who carries beauty, perfect as dusk when the sun goes down. She has been married many times. Old men remind her that few years back they rode her hobby-horse upon their knees. Karintha smiles, and indulges them when she is in the mood for it. She has contempt for them. Karintha is woman. Young men run stills to make her money. Young men gamble to make her money. Young men go to the large cities and run on the road. Young men go away to college. They all want to bring her money. These are the young men who thought that all they had to do was to count time. But Karintha is woman, and she has had child. child fell out of her womb onto bed of pine-needles in the forest. Pine-needles are smooth and sweet. They are elastic to the feet of rabbits … saw-mill was nearby. Its pyramidal saw-dust pile smouldered. It is year before one completely burns. Meanwhile, the smoke curls up and hangs in odd wraiths about the forest, curls up, and spreads itself out over the valley. Weeks after Karintha returned home, the smoke was so heavy you tasted it in water. Someone made song:
Smoke is on the hills. Rise up.
Smoke is on the hills, rise
And take my soul away.Karintha is woman. Men do not know that the soul of her was growing thing ripened too soon. They will bring their money; they will die not having found it out … Karintha at twenty, carrying beauty, perfect as dusk when the sun goes down. Karintha …
Her skin is like dusk on the eastern horizon,
can’t you see it, can’t you see it,
Her skin is like dusk on the eastern horizon
… When the sun goes down.Goes down …
(Jean Toomer)
Quelle: Broom: An International Magazine Of The Arts, Volume 4, Number 2, January 1923, p. 83–85.
Online: http://bluemountain.princeton.edu/bluemtn/cgi-bin/bluemtn?a=d&d=bmtnaap192301-01&e=——-en-20–1–txt-txIN——---
"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #165: Johnny Dyani (1945–1986) - 9.9., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,940
„Say It Loud ….“ natürlich ein Klassiker …. mit Anspruch ….
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)gypsy-tail-wind – und obendrein einiges Abtippen, aber ja, gehört dazu.
Oh Gott, gibts die Texte nicht alle in irgendeiner Form online, dass du die nur kopieren und einfügen musst?
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Heya soulpope, schön dass Du es einrichten konntest!
Hier hören wir übrigens die Trompete von Wadada Leo Smith.
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #165: Johnny Dyani (1945–1986) - 9.9., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tbatezuka
gypsy-tail-wind – und obendrein einiges Abtippen, aber ja, gehört dazu.
Oh Gott, gibts die Texte nicht alle in irgendeiner Form online, dass du die nur kopieren und einfügen musst?
Nicht alle, sonst hätte ich nicht getippt … und copy-paste geht manchmal (aus PDFs z.B.) halt nur ohne Zeilenumbrüche und Absätze und sowas, zudem sind manche Online-Vorlagen voller Fehler (den online Text zum kommenden Track von Ursula Rucker habe ich anhand des CD-Booklets komplett überarbeiten müssen), und sie sind v.a. voller falscher oder unsinniger Satzzeichen.
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #165: Johnny Dyani (1945–1986) - 9.9., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba
soulpope "Ever Since The World Ended, I Don`t Get Out As Much"Registriert seit: 02.12.2013
Beiträge: 56,940
gypsy-tail-windHeya soulpope, schön dass Du es einrichten konntest!
Na ja „leise rieseln die Steine“
…. hoffentlich ….
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"Kunst ist schön, macht aber viel Arbeit" (K. Valentin)soulpope
gypsy-tail-windHeya soulpope, schön dass Du es einrichten konntest!
Na ja „leise rieseln die Steine“
…. hoffentlich ….
Wollen wir es hoffen!
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #165: Johnny Dyani (1945–1986) - 9.9., 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba -
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