General Comments for all Naweedna cds
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- In Memoriam … 2007
- The Playlist and Notes for Naweedna 2007
- 02 Alaskan Nights – David Schwartz Northern Exposure (1992)
- 03 Everything Reminds Me Of My Dog – Jane Siberry Bound By The Beauty (1989)
- 04 I Got You – James Brown CD of JB (1985)
General Comments for all Naweedna CDs
As usual, my comments are in blue. The other information comes from www.allmusic.com. Additions and corrections are welcome … encouraged, in fact. In Memoriam … 2007:
The Playlist and Notes for Naweedna 2007 01 Corn Bread And Butter Beans – Carolina Chocolate Drops PHC (2007) I liked this from the get-go. It wasn’t much of a stretch to make it the lead track. As the bio shows, these are young, talented musicians doing traditional stuff. I like it a lot … might actually buy some ;-) Traditional music fans are abuzz about the Carolina Chocolate Drops, a group of young African-American string band musicians that have come to together to play the fiddle and banjo music of Carolina's Piedmont. Rhiannon Giddens (banjo), who grew up in the Piedmont area, is an Oberlin Conservatory of music grad who fell in love with old-time music. Justin Robinson (fiddle), from a musical family — his mother is an opera singer and cellist, his sister a classical pianist, and his grandfather a harmonica player — played classical violin when he was a kid, but traditional music recently won him over. Born and raised in Phoenix, Arizona, Dom Flemons (harmonica, jug, guitar) has immersed himself in the sounds of yesterday — blues, country and string band traditions — and he branches out into early jazz, rock and original material, too. Sule Greg Wilson (percussion) studied drumming back in his Washington, D.C., school days. He is well versed in folkways from Bolivia to Belfast, Cape Town to the Crescent City, and he has performed with musicians from Nigerian percussionist Babatunde Olatunji to banjoist Tony Trischka to Malian Jali Cheikh Hamala Diabate. Together, these four are taking the string band scene by storm. The Carolina Chocolate Drops' CD, Dona Got a Ramblin' Mind (Music Maker), was released last year. 02 Alaskan Nights – David Schwartz Northern Exposure (1992) Yep, another Northern Exposure track. I believe Schwarz was the musical genius behind this eclectic collection. As I tell everyone, if you can only have two CDs, Northern and More Northern are the two to have. Rest assured there will be more from this two CD set. Northern Exposure Album Title Northern Exposure Date of Release 1992 (release) AMG Rating 4 * Time 42:31
2. Jolie Louise by Daniel Lanois - 2:39 3. Hip Hug-Her by Booker T. & the MG's - 2:24 4. At Last by Etta James - 2:59 5. Everybody Be Yoself by Chic Street Man - 3:06 6. Alaskan Nights by David Schwartz - 2:40 7. Don Quichotte by Magazine Sixty - 5:08 8. When I Grow Too Old to Dream by Cole, Nat King Trio - 3:30 9. Emabhaceni by Miriam Makeba - 2:39 10. Gimme Three Steps by Lynyrd Skynyrd - 4:27 11. Báilèro from Chants d' Auvergne by Frederica VonStade / Royal Philharmonic Orchestra - 6:25 12. Medley: A Funeral in My Brain/Woody the... by David Schwartz - 3:30 More Music From Northern Exposure 1. Ojibway Square Dance (Love Song) – Georgia Wettlin-Larsen 2. Theme From Northern Exposure – David Schwartz 3. Stir It Up – Johnny Nash 4. Mambo Baby – Ruth Brown 5. Someone Loves You – Simon Bonney 6. The Ladder – David Schwartz 7. If You Take Me Back – Big Joe & His Washboard Band 8. Un Mariage Casse (A Broken Marriage) – Basin Brothers 9. There I Go Again -- Vinx 10. Lay My Love – Brian Eno & John Cale 11. Wrap Your Troubles In Dreams (And Dream Your Troubles Away) – Les Paul & Mary Ford 12. Mooseburger Stomp – David Schwartz 13. I May Want a Man – Joanne Shenandoah
the guy in the store reminds me of my dog telephones remind me of my dog...yoohoo taxicabs remind me too if you remind me of my dog we'll probably git along little doggie git along git along little doggie git a...
(better let them know you're friendly) the way people dress reminds me too pissing on their favourite tree sad things remind me of my dog cockroaches and other insects remind me too, don't eat them the blank expression of the little boy with thick glasses who picks himself up from the sidewalk and stands there blinking in the sun ho oh!
we'll probably git along little doggie git along git along little doggie git a... like the man on the subway sitting across from me and every time I looked at him he smiled and by the time I got to the end of the subway line I 'd given him at least ...oh...25 cookies guys in bars remind me of my dog the way it takes you so long to choose the perfect table
we'll probably git along little doggie git along git along little doggie git a...
we're walking down the street and everyone we meet says "ach yer a goot doogie !... "ach yer a goot doogie!..." "ach yer a goot doogie!..." except when we go for a walk to get the Sunday paper I stand there and read the headlines he reads the wind sometimes he hits a funny smell and laughs I hate it when he does that- I feel so dumb what? what? I say
beautiful things sunsets remind me of my dog Gina go to your window Einstein reminds me of me dog I want to pat his fluffy head this whole world reminds me of my dog my dog reminds me of this whole world do I remind you of a dog? (thump thump) I do? (faster thump thump) skyscrapers remind me of my dog sitting in the tall grass waiting for a rabbit guys in red cameros too it's getting to be a habit artists remind me of my dog staking out their originality on the nearest tree old folks remind me of my dog my dog reminds old people of their dogs (Barfy, Ruffo, Beanhead) Gina says I remind her of the dog the that way I just did that golfers teeing off remind me of my dog the way he sits by me and shifts on his front paws
do you want to go for a walk? do you want a cookie? do you want me to dial the number for you?
Rating 3 * Release Date Aug 1989 Recording Date 1989 Time 42:39 Rock
1 Bound by the Beauty Siberry 4:41 2 Something About Trains Siberry 3:44 3 Hockey Siberry 3:58 4 Everything Reminds Me of My Dog Siberry 4:17 5 The Valley Siberry 6:04 6 The Life Is the Red Wagon Siberry 4:12 7 Half Angel Half Eagle Siberry 3:55 8 La Jalouse Siberry 3:59 9 Miss Punta Blanca Siberry 1:38 10 Are We Dancing Now? (Map III) Siberry 6:11 04 I Got You – James Brown CD of JB (1985) Where do you start with James Brown? I’ve never been that big of a fan, but his collected works are impressive. I auditioned several tracks and thought this one – although well known – was pretty representative: the beginning scream, the driving beat, the message … things you expect from JB. This track is from Steve Phillips. "Soul Brother Number One," "the Godfather of Soul," "the Hardest Working Man in Show Business," "Mr. Dynamite" — those are mighty titles, but no one can question that James Brown has earned them more than any other performer. Other singers were more popular, others were equally skilled, but few other African-American musicians have been so influential on the course of popular music. And no other musician, pop or otherwise, put on a more exciting, exhilarating stage show; Brown's performances were marvels of athletic stamina and split-second timing. Through the gospel-impassioned fury of his vocals and the complex polyrhythms of his beats, Brown was a crucial midwife in not just one, but two revolutions in American black music. He was one of the figures most responsible for turning R&B into soul; he was, most would agree, the figure most responsible for turning soul music into the funk of the late '60s and early '70s. Since the mid-'70s, he's done little more than tread water artistically; his financial and drug problems eventually got him a controversial prison sentence. Yet in a sense his music is now more influential than ever, as his voice and rhythms were sampled on innumerable rap and hip-hop recordings, and critics have belatedly hailed his innovations as among the most important in all of rock or soul. Brown's rags-to-riches-to-rags story has heroic and tragic dimensions of mythic resonance. Born into poverty in the South, he ran afoul of the law by the late '40s on an armed robbery conviction. With the help of singer Bobby Byrd's family, Brown gained parole, and started a gospel group with Byrd, changing their focus to R&B as the rock revolution gained steam. The Flames, as the Georgian group were known in the mid-'50s, were signed by Federal/King, and had a huge R&B hit right off the bat with the wrenching, churchy ballad "Please, Please, Please." By now the Flames had become James Brown & the Famous Flames, the charisma, energy, and talent of Brown making him the natural star attraction. All of Brown's singles over the next two years flopped, as he sought to establish his own style, recording material that was obviously derivative of heroes like Roy Brown, Hank Ballard, Little Richard, and Ray Charles. In retrospect, it can be seen that Brown was in the same position as dozens of other R&B one-shots; talented singers in need of better songs, or not fully on the road to a truly original sound. What made Brown succeed where hundreds of others failed was his superhuman determination, working the chitlin circuit to death, sharpening his band, and keeping an eye on new trends. He was on the verge of being dropped from King in late 1958 when his perseverance finally paid off, as "Try Me" became a number-one R&B (and small pop) hit, and several follow-ups established him as a regular visitor to the R&B charts. Brown's style of R&B got harder as the '60s began, as he added more complex, Latin- and jazz-influenced rhythms on hits like "Good Good Lovin'," "I'll Go Crazy," "Think," and "Night Train," alternating these with torturous ballads that featured some of the most frayed screaming to be heard outside of the church. Black audiences already knew that Brown had the most exciting live act around, but he truly started to become a phenomenon with the release of Live at the Apollo in 1963. Capturing a James Brown concert in all its whirling-dervish energy and calculated spontaneity, it reached number two in the album charts, an unprecedented feat for a hardcore R&B LP. Live at the Apollo was recorded and released against the wishes of the King label. It was these kinds of artistic standoffs that led Brown to seek better opportunities elsewhere. In 1964, he ignored his King contract to record "Out of Sight" for Smash, igniting a lengthy legal battle that prevented him from issuing vocal recordings for about a year. When he finally resumed recording for King in 1965, he had a new contract that granted him far more artistic control over his releases. Brown's new era had truly begun, however, with "Out of Sight," which topped the R&B charts and made the pop Top 40. For some time, Brown had been moving toward more elemental lyrics which threw in as many chants and screams as words, and more intricate beats and horn charts that took some of their cues from the ensemble work of jazz outfits. "Out of Sight" wasn't called funk when it came out, but it had most of the essential ingredients. These were amplified and perfected on 1965's "Papa's Got a Brand New Bag," a monster that finally broke Brown to the white audience, reaching the Top Ten. The even more adventurous follow-up, "I Got You (I Feel Good)," did even better, making number three. These hits kicked off Brown's period of greatest commercial success and public visibility. From 1965 to the end of the decade, he was rarely off the R&B charts, often on the pop listings, and all over the concert circuit and national television, even meeting with Vice President Hubert Humphrey and other important politicians as a representative of the black community. His music became even bolder and funkier, as melody was dispensed with almost altogether in favor of chunky rhythms and magnetic interplay between his vocals, horns, drums, and scratching electric guitar (heard to best advantage on hits like "Cold Sweat," "I Got the Feelin'," and "There Was a Time"). The lyrics were now not so much words as chanted, stream-of-consciousness slogans, often aligning themselves with black pride as well as good old-fashioned (or new-fashioned) sex. Much of the credit for the sound he devised belonged to (and has now been belatedly attributed) his top-notch supporting musicians, such as saxophonists Maceo Parker, St. Clair Pinckney, and Pee Wee Ellis; guitarist Jimmy Nolen; backup singer and longtime loyal associate Bobby Byrd; and drummer Clyde Stubblefield. Brown was both a brilliant bandleader and a stern taskmaster, leading his band to walk out on him in late 1969. Amazingly, he turned the crisis to his advantage by recruiting a young Cincinnati outfit called the Pacemakers, featuring guitarist Catfish Collins and bassist Bootsy Collins. Although they only stayed with him for about a year, they were crucial to Brown's evolution into even harder funk, emphasizing the rhythm and the bottom even more. The Collins brothers, for their part, put their apprenticeship to good use, helping define '70s funk as members of the Parliament/Funkadelic axis. In the early '70s, many of the most important members of Brown's late-'60s band returned to the fold, to be billed as the J.B's (they also made records on their own). Brown continued to score heavily on the R&B charts throughout the first half of the 1970s, the music becoming even more and more elemental and beat-driven. At the same time, he was retreating from the white audience he had cultivated during the mid- to late '60s; records like "Make It Funky," "Hot Pants," "Get on the Good Foot," and "The Payback" were huge soul sellers, but only modest pop ones. Critics charged, with some justification, that the Godfather was starting to repeat and recycle himself too many times. It must be remembered, though, that these songs were made for the singles-radio-jukebox market and not meant to be played one after the other on CD compilations (as they are today). By the mid-'70s, Brown was beginning to burn out artistically. He seemed shorn of new ideas, was being out-gunned on the charts by disco, and was running into problems with the IRS and his financial empire. There were sporadic hits, and he could always count on enthusiastic live audiences, but by the 1980s, he didn't have a label. With the explosion of rap, however, which frequently sampled vintage JB records, Brown was now hipper than ever. He collaborated with Afrika Bambaataa on the critical smash single "Unity," and re-entered the Top Ten in 1986 with "Living in America." Rock critics, who had always ranked Brown considerably below Otis Redding and Aretha Franklin in the soul canon, began to reevaluate his output, particularly his funk years, sometimes anointing him not just as Soul Brother Number One, but as the most important black musician of the rock era. In 1988, Brown's personal life came crashing down in a well-publicized incident in which he was accused by his wife of assault and battery. After a year skirting hazy legal and personal troubles, he led the police on an interstate car chase after allegedly threatening people with a handgun. The episode ended in a six-year prison sentence that many felt excessive; he was paroled after serving two years. It's probably safe to assume that Brown will not make any more important recordings, although he continues to perform and release new material like 1998's I'm Back. Yet his music is probably more popular in the American mainstream today than it has been since the 1970s, and not just among young rappers and samplers. For a long time his cumbersome, byzantine discography was mostly out of print, with pieces available only on skimpy greatest-hits collections. A series of exceptionally well-packaged reissues on PolyGram has changed the situation; the Star Time box set is the best overview, with other superb compilations devoted to specific phases of his lengthy career, from '50s R&B to '70s funk. The CD of JB Rating 4.5 Stars Release Date 1985 Recording Date Feb 4, 1956-Aug 4, 1973 Time 54:50
2 Super Bad Brown 2:59 3 Soul Power Brown 3:01 4 Think Pauling 3:13 5 It's a Man's Man's Man's World Brown, Newsome 3:14 6 Try Me Brown 2:29 7 Bewildered Powell, Whitcup 2:23 8 Out of Sight Wright 2:22 9 I Got You Wright 2:26 10 Prisoner of Love Columbo, Gaskill, Robin 2:27 11 I Got the Feelin' Brown 2:40 12 Maybe the Last Time Wright 3:00 13 Licking Stick-Licking Stick Brown, Byrd, Ellis 2:47 14 Mother Popcorn Brown, Ellis 3:11 15 Papa's Got a Brand New Bag Brown 2:06 16 Get Up (I Feel Like Being A) Sex Machine Brown, Byrd, Lenhoff 5:04 17 The Payback Brown, Starks, Wesley 3:21 18 Please, Please, Please Brown, Terry 2:44 Directory: ~boger -> SaturdayAM -> Saturday%20AM%20Downloads -> music music -> General Comments for all Naweedna cds Download 247.48 Kb. Share with your friends:
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