The Thrill Is Gone

December 19th, 2009 Comments off

The Thrill Is Gone” is a blues song written by Rick Darnell and Roy Hawkins in 1951 and popularized by B.B. King in 1970.

The song was first recorded by Roy Hawkins, its co-author, and became a minor hit for the musician. B.B. King recorded his version of the song in June 1969 for his album Completely Well, released the same year.

The song’s polished production and use of strings marked a departure from both the original song and King’s previous material. When released as a single in December 1969, the song became the biggest hit of King’s career (#3 R&B / #15 Pop) and his signature song. B. B. King’s recording earned him a Grammy Award for Best Male R&B Vocal Performance and a Grammy Hall of Fame award in 1998. King’s version of the song was also placed at number 183 on Rolling Stone magazine’s list of the 500 greatest songs ever.

Memorable live versions of the song were included on King’s albums Live in Cook County Jail (1971), Bobby Bland and B.B. King Together Again…Live (1976), and Live at San Quentin (1991).

Source: Wikipedia

The Thrill Is Gone Lyrics (Rick Darnell and Roy Hawkins)

The thrill is gone
The thrill is gone away
The thrill is gone baby
The thrill is gone away
You know you done me wrong baby
And you’ll be sorry someday

The thrill is gone
It’s gone away from me
The thrill is gone baby
The thrill is gone away from me
Although, i’ll still live on
But so lonely i’ll be

The thrill is gone
It’s gone away for good
The thrill is gone baby
It’s gone away for good
Someday i know i’ll be open armed baby
Just like i know a good man should

You know i’m free, free now baby
I’m free from your spell
Oh i’m free, free, free now
I’m free from your spell
And now that it’s all over
All i can do is wish you well

Roy Hawkins

B.B. King

Luther Allison

Leonardo Vergni

Richie Kotzen

Pappo Napolitano


Randy Crawford & The Crusaders

Little Milton

Jose Feliciano

Jerry Garcia & David Grisman

Aretha Franklin

Dakota Staton

Brian Hyland

Big Chill

Stan Webb

Chicken Shack

Snowy White

Court Of Mercy



Hadda Brooks

Archie Shepp Quartet

Chet Baker Quartet

Patricia Barber

The Harmonics

BB King & Stevie Wonder

BB King & Pavarotti

BB King & Tracy Chapman

BB King & Eric Clapton

BB King & Barbara Mandrell

BB King & Gladys Knight

Categories: Músicas e Músicos Tags:

You Can’t Always Get What You Want

December 19th, 2009 Comments off

You Can’t Always Get What You Want” is a song by The Rolling Stones released on their 1969 album Let It Bleed. Written primarily by Mick Jagger with assistance from Keith Richards, it was named as the 100th greatest song of all time by Rolling Stone (magazine) in its 2004 list of “500 Greatest Songs of All Time.”


“You Can’t Always Get What You Want” was recorded on 16 and 17 November 1968 at London’s Olympic Sound Studios. It features the London Bach Choir opening the song, highlighting throughout, and bringing it to its conclusion. Jimmy Miller, the Rolling Stones’ producer at the time, plays drums on this song instead of Charlie Watts. Al Kooper plays piano and organ and also played the French horn intro, while Rocky Dijon plays congas and maracas. Nanette Workman sings backup vocals, but she is credited as “Nanette Newman”.[citation needed]

Of the song, Jagger said in 2003,[citation needed] “‘You Can’t Always Get What You Want’ was something I just played on the acoustic guitar—one of those bedroom songs. It proved to be quite difficult to record because Charlie couldn’t play the groove and so Jimmy Miller had to play the drums. I’d also had this idea of having a choir, probably a gospel choir, on the track, but there wasn’t one around at that point. Jack Nitzsche, or somebody, said that we could get the London Bach Choir and we said, ‘That will be a laugh.'”[1]

In his review of the song, Richie Unterberger says, “If you buy John Lennon’s observation that the Rolling Stones were apt to copy the Beatles’ innovations within a few months or so, ‘You Can’t Always Get What You Want’ is the Rolling Stones’ counterpart to ‘Hey Jude'”. Jagger said in 1969, “I liked the way the Beatles did that with ‘Hey Jude’. The orchestra was not just to cover everything up—it was something extra. We may do something like that on the next album.”[2]


A popular story of the song’s origins involves Jagger’s experience at a drug store in the town of Excelsior, Minnesota:

In 1964, Mick Jagger, having played at the Danceland ballroom the night before, was standing in line to get his prescription filled at the Excelsior drugstore. Seems a local character named Jimmy Heutmaker started yapping about how he loved his cherry coke but that morning he was given a different flavor and y’know, Mr. Jagger, you can’t always get what you want…

The story about Jagger meeting a drifter named Jimmy Hutmaker may be apocryphal. “Jagger never acknowledged the conversation ‘or’ using it as an inspiration.”[4] Webster’s Dictionary has called it an “urban legend,” and argued that “considering that this alleged meeting took place in June of 1964 and the song was not recorded until almost five years later, it is of dubious validity.”[5] Nevertheless, according to Heutmaker’s obituary in the Star Tribune, many still insist that the story is true.[6]

However, one Jimmy Phelge, friend of the band in their early days and onetime roommate of Mick, Keith and Brian, has claimed that he is the “Mr. Jimmy” of the song, and says as much in his book of recollections, ‘Phelge’s Stones’ (also published as ‘Nankering With The Stones.’)

The three verses (along with the varied theme in the 4th verse) address the major topics of the 1960s: love, politics, and drugs. Each verse captures the essence of the initial optimism and eventual disillusion, followed by the resigned pragmatism in the chorus.

Unterberger concludes of the song, “Much has been made of the lyrics reflecting the end of the overlong party that was the 1960s, as a snapshot of Swinging London burning out. That’s a valid interpretation, but it should also be pointed out that there’s also an uplifting and reassuring quality to the melody and performance. This is particularly true of the key lyrical hook, when we are reminded that we can’t always get what we want, but we’ll get what we need.”

Release and aftermath

Though popular on modern classic rock radio stations, “You Can’t Always Get What You Want” was not released as a single, but rather as the B-Side to “Honky Tonk Women”, albeit in an edited form (4:49) without the choral section. One of the Stones’ most popular recordings, it has since appeared on the compilations Hot Rocks, Singles Collection, Forty Licks, Rolled Gold+: The Very Best of the Rolling Stones (2007 edition), Singles 1968-1971 (single version), and Slow Rollers.

“You Can’t Always Get What You Want” is very popular at Rolling Stones shows due to the sing-along chorus, and is played at almost every show (where it is custom for Jagger to change the lyrics from “my favourite flavour, cherry red” to the question “What’s your favourite flavour?” to which the audience replies “Cherry red”). Live recordings appear on the albums Love You Live, Flashpoint, Live Licks, and The Rolling Stones Rock and Roll Circus recorded in 1968.

Source: Wikipedia

You Can’t Always Get What You Want Lyrics (Mick Jagger and Keith Richards)

I saw her today at the reception
A glass of wine in her hand.
I knew she was gonna meet her connection,
At her feet was a footloose man.

And you can’t always get what you want,
Honey, you can’t always get what you want.
You can’t always get what you want
But if you try sometimes, yeah,
You just might find you get what you need!

I went down to the demonstration
To get our fair share of abuse,
Singing, “We gonna vent our frustration.”
If we don’t we’re gonna blow a fifty amp fuse.
So, I went to the Chelsea Drugstore
To get your prescription filled.
I was standing in line with my friend, Mr. Jimmy.
And man, did he look pretty ill.
We decided that we would have a soda,
My favorite flavour was cherry red.
I sing this song to my friend, Jimmy,
And he said one word to me and that was “dead.”
And I said to him

And you can’t always get what you want, honey.
You can’t always get what you want.
You can’t always get what you want.
But if you try sometimes, yeah,
You just might find you get what you need!

I saw her today at the reception.
In her glass was a bleeding man.
She was practiced at the art of deception;
I could tell by her blood-stained hands.

And you can’t always get what you want, honey.
You can’t always get what you want.
You can’t always get what you want,
But if you try sometimes, yeah,
You just might find you get what you need!

And you can’t always get what you want, honey,
You can’t always get what you want,
You cant always get what you want,
But if you try sometimes, yeah,
You just might find you get what you need

The Rolling Stones

Def Leppard

Luther Allison


Patti Austin

Crystal Bowersox

Ben Harper & Rusted Roots

Glee TV Series Cast

Scala & Kolacny Brothers

The Jolly Boys

Steel Pulse

Ituana – Bossa ‘n’ Stones

Past Perfect

The Tea Party

George Michael (Waiting For That Day)

Categories: Músicas e Músicos Tags:

Investigaçao Sobre um Cidadão Acima de Qualquer Suspeita

December 16th, 2009 Comments off

Título original: Indagine su un cittadino al di sopra di ogni sospetto

Inspetor do alto escalão da polícia italiana, com reputação ilibada, fama de incorruptível, mas reacionário, mata sua amante, Augusta Terzi, e tenta incriminar um jovem esquerdista, que também tinha um caso com ela.

Por chefiar as investigações, ele tem certeza de que está acima de qualquer suspeita.
Testa se a polícia irá acusá-lo por isso e durante o filme ele vai plantando pistas óbvias que o identificam como o assassino ao mesmo tempo em que vê os colegas ignorando-as, intencionalmente ou não.

Elenco principal: Gian Maria Volonté (Inspetor de Polícia), Florinda Bolkan (Augusta Terzi), Orazio Orlando (Biglia), Arturo Dominici (Mangani), Sergio Tramonti (Antonio Pace), Aldo Rendine (Nicola Panunzio), Gianni Santuccio (Chefe de Polícia)

Direção: Elio Petri (1970)

Categories: Filmes Tags:

Simple Man

December 15th, 2009 Comments off

Simple Man” is the fourth track on Lynyrd Skynyrd’s first album, (pronounced ‘le(h-‘nérd ‘skin-‘nérd).


Shortly after Ronnie Van Zant’s grandmother and Gary Rossington’s mother died, they got together in Van Zant’s apartment and shared stories about their mothers.

Rossington came up with a chord progression, and Van Zant wrote the lyrics based on advice the women had given them over the years. They wrote it in approximately an hour.

Even though the lyrics state, “Sit beside me, my only son,” Ronnie was not the only son.

He had two younger brothers along with one older sister and one younger sister. Actually the song says “when I was young” so therefore, his younger brothers may not have been born yet, making him the only son.

Cover versions

Shinedown recorded an acoustic version for their debut album Leave a Whisper. Deftones included a rendition on their compilation album B-Sides & Rarities, and a version by Alessi’s Ark appeared on a bonus disc issued with the 2009 Notes from the Treehouse album.

Live performance popularity

Frontman Johnny Van Zant discussed this song in a track-by-track commentary to promote the band’s 2010 CD/DVD Live From Freedom Hall. He said: “Well that’s a great song and something that I think we all live by. I think anybody out there needs to respect their mother, and the words of their mother. It’s mama talking to you in that song and I think it’s probably one of my favorites if not my favorite to do live. It’s just a great song and that one stays in the set and the crowd always goes crazy on that one.”

Source: Wikipedia

Simple Man Lyrics (Ronnie Van Zant and Gary Rossington)

Mama told me when I was young
Come sit beside me, my only son
And listen closely to what I say
And if you do this it will help you some sunny day

Take your time, don’t live too fast
Troubles will come and they will pass
Go find a woman and you’ll find love
And don’t forget, son there is someone up above

And be a simple kind of man
Be something you love and understand
Baby, be a simple kind of man
Won’t you do this for me, son?
If you can?

Forget your lust for the rich man’s gold
All that you need is in your soul
And you can do this if you try
All that I want for you my son?
Is to be satisfied

And be a simple kind of man
Be something you love and understand
Baby, be a simple kind of man
Won’t you do this for me, son?
If you can?

Boy, don’t you worry, you’ll find yourself
Follow you heart and nothing else
And you can do this if you try
All I want for you my son
Is to be satisfied

And be a simple kind of man
Be something you love and understand
Baby, be a simple kind of man
Won’t you do this for me, son?
If you can?

Baby, be a simple man
Be something you love and understand
Baby, be a simple man

Lynyrd Skynyrd

Gov’t Mule

Brand New Sin

Lee Dewyze

Hank Williams Jr.



Michael Grimm


Categories: Músicas e Músicos Tags:

I’d Rather Go Blind

December 15th, 2009 Comments off

I’d Rather Go Blind” is a Blues song written by Ellington Jordan and co-credited to Billy Foster. It was first recorded by Etta James in 1968, and has subsequently become regarded as a blues and soul classic.

Original version by Etta James

Etta James wrote in her autobiography Rage To Survive that she heard the song outlined by her friend Ellington “Fugi” Jordan when she visited him in prison. She then wrote the rest of the song with Jordan, but for tax reasons gave her songwriting credit to her partner at the time, Billy Foster.

Etta James recorded the song at the FAME Studios in Muscle Shoals, Alabama. It was included on the album Tell Mama and as the B-side of the single of the same name which made number 10 on the Billboard R&B charts and number 23 on the pop charts. Some critics have regarded “I’d Rather Go Blind” as of such emotional and poetic quality that it makes that release one of the great double-sided singles of the period. Critic Dave Marsh put the song in his book The Heart of Rock and Soul: The 1001 Greatest Singles Ever Made.

Other versions

It has since been recorded by a wide variety of artists, including Clarence Carter, blind from birth, on his 1969 album The Dynamic Clarence Carter. Other recordings include those by Little Milton, Chicken Shack, Koko Taylor, Man Man, Rod Stewart, B.B. King, Paul Weller, Ruby Turner, Marcia Ball, Sydney Youngblood and Beyoncé Knowles for the Cadillac Records Soundtrack.

The song reached number 14 on the UK pop charts in 1969 in a version by British blues band Chicken Shack, featuring Christine Perfect, later to become Christine McVie of Fleetwood Mac.

Rod Stewart covered the song on his 1972 album Never a Dull Moment. Etta James refers to Stewart’s version favorably in her autobiography, Rage to Survive.

A version of the song was the follow-up single to UK singer Sydney Youngblood’s third single release, “Ain’t No Sunshine”, which was popular in the UK. Although “Ain’t No Sunshine” peaked in the UK Top 20, “I’d Rather Go Blind” missed the Top 40, peaking at number 44 on the UK pop charts. However, it appeared on Now That’s What I Call Music! 17. It appeared on the CD before the actual single was released.

On the British version of The X Factor, the song has been covered by Ashley McKenzie (Series 3), and Katie Waissel (Series 7).

A version of this song has been performed by Paolo Nutini Australian musician Toby, and American folk singer Holly Miranda.

Source: Wikipedia

I’d Rather Go Blind Lyrics (Ellington Jordan and Billy Foster)

Something told me it was over
when I saw you and her talking
Something deep down in my soul said
“Cry Girl”
When I saw you and that girl
Walking out

I would rather
I would rather
Go blind, boy
Than to see you walk away
From me chile

Ooooo, So you see I love you so much
That I don’t want to watch you leave me, baby
Most of all I just don’t
I just don’t want
To be free, no

I was just
I was just
I was just
Sitting here thinking
Of your kisses

And your warm embrace, yeah
When the reflection
In the glass that I held
To my lips now, baby
Revealed the tears
That was on my face, yeah

And baby, baby
I would rather be blind, boy
Than to see you walk away
See you walk away from me, yeah
Baby, baby, baby
I’d rather be blind now

Etta James

Etta James & Dr. John


Ruby Turner

Margie Joseph

Chicken Shack

Michael Grimm

Jessica Sanchez

The Faces (Rod Stewart)

Mary Coughlan

Dana Fuchs

Christine McVie

Oscar Benton

Gov’t Mule

Scott Holt Band

Koko Taylor

Irma Thomas

Bettye Swann

Barbara Lynn

The Del Moroccos

Man Man

Categories: Músicas e Músicos Tags:


December 13th, 2009 Comments off

Supertramp é uma banda britânica de rock progressivo que obteve grande sucesso nos anos 70 e início dos anos 80 e que venderam mais de 70 milhões de álbuns.

Patrocinado pelo milionário holandês Stanley August Miesegaes, o vocalista, pianista e ex-baterista Rick Davies pôs um anúncio no jornal Melody Maker em busca de integrantes para a formação do grupo, em agosto de 1969.

Rick Davies então juntou-se aos músicos Roger Hodgson (vocal, guitarra e teclados), Richard Palmer (guitarra, balalaika e vocais) e Robert Millar (percussão e harmônica).

A banda inicialmente chamava-se Daddy, tendo o nome posteriormente alterado para Supertramp, que ao pé da letra quer dizer “super andarilho”, inspirado num livro de W.H. Davies, “The Autobiography of a Super-Tramp”.

O recém-batizado Supertramp foi um dos primeiros grupos de rock a assinar com A&M Records inglesa, e o primeiro álbum foi lançado em julho de 1970. Apesar das boas críticas, foi um fracasso comercial – tanto que só saiu oficialmente nos Estados Unidos em 1977.

Richard Palmer, desgostoso, resolveu sair seis meses depois do lançamento do primeiro LP, e Robert Millar teve uma crise nervosa logo em seguida. Foram substituídos por Frank Farrell (baixo), Kevin Currie (bateria) e Dave Winthrop (flauta e saxofone).

O álbum com esta formação, Indelibly Stamped, enfim trazia as marcas registradas da banda: as harmonias vocais entre Davies e Hodgson, e solos de saxofone. Mas também foi um fracasso de vendas, o que fez com que Miesegaes retirasse o patrocínio. Novamente o grupo debandou, restando apenas Hodgson e Davies.

No final de 1972, convocaram o baixista Dougie Thomson, o baterista Bob Siebenberg (que era um americano vivendo ilegalmente na Inglaterra, daí seu pseudônimo “Bob C. Benberg”) e o homem que deu o toque final ao som do grupo, John Helliwell (saxofone e sopros em geral, vocais).

Essa formação lançou Crime of The Century em 1974 e finalmente fez sucesso com “Dreamer”, “School”, “Bloody Well Right”, entre outros hits.

O disco seguinte, Crisis? What Crisis?, de 1975, não foi tão bem nas vendas, mas Even in the Quietest Moments, de 1977, recolocou o Supertramp no topo das paradas musicais com “Give a Little Bit” e “Fool’s Overture”. Breakfast in America, de 1979, trouxe mais sucessos (“The Logical Song”, “Take the Long Way Home”, “Goodbye Stranger”, “Breakfast in America”) e vendeu 18 milhões de cópias.

O ano de 1982 não foi bom para o grupo. Após tantos anos de sucesso, Roger Hodgson resolveu abandonar a banda após a turnê de …Famous Last Words…. Existem várias especulações sobre sua saída, e nenhuma delas convenceu na época.

Alguns diziam que Hodgson se sentia musicalmente limitado (o que não se sustenta, já que seus discos solo são bem parecidos com o material habitual do Supertramp); até que, em uma entrevista, Hodgson revelou que deixou a banda porque sua esposa na época não se dava bem com a esposa de Rick Davies.

Davies resolveu manter o Supertramp na ativa com o álbum Brother Where You Bound, iniciado pelo single “Cannonball”. A faixa título do álbum, de 16 minutos de duração, conta com a participação especial de David Gilmour, do Pink Floyd.

Em 1996, Davies reformou o Supertramp com Helliwell, Siebenberg e Hart, mais alguns músicos de estúdio.

Essa formação gravou o album de estudio Slow Motion em 2002, quando o grupo entra em hiato novamente, a despeito de uma nova e igualmente fracassada tentativa de voltar à ativa com Hodgson em 2005.

Em 2010 o Supertramp,reformado mais uma vez,entra em turnê para comemorar o 40 º aniversário do primeiro lançamento do grupo. Roger Hodgson, que não está incluído nesta turnê.

Formação atual

  • Rick Davies – vocais, teclado, gaita, composição, melodia (1969–1988, 1996–2002, desde 2010,)
  • John Helliwell – vocais, instrumentos de sopro, teclado, sintetizadores (1973–1988, 1996–2002, desde 2010)
  • Bob Siebenberg – bateria, percussão (1973–1988, 1996–2002, desde 2010)


  • Roger Hodgson – vocais, violão, teclado, baixo, violoncelo, flauta, composição (1969–1983)
  • Dougie Thomson – baixo, backing vocals (1972–1988)
  • Mark Hart – vocais, teclado, violão (1985–1988, 1996–2002)
  • Tom Walsh – percussão (1996–1997)
  • Kevin Currie – percussão (1971–1973)
  • Richard Palmer-James – vocais, guitarra, violão, balalaika (1969–1971)
  • Bob Millar – percussão, gaita (1969–1971)
  • Keith Baker – bateria (1969)
  • Dave Winthrop – flauta , saxofone, vocais (1970–1973)
  • Frank Farrell – baixo, teclado, backing vocals (1971–1972)

Fonte: Wikipedia

Visite o Site Oficial do Supertramp

The Logical Song

Take The Long Way Home

Breakfast In America

Crime of the Century

Goodbye Stranger

Give Me A Chance

My Kind Of Lady

Brother Where You Bound


I’m Beggin’ You

Better Days

Free As A Bird

Slow Motion

Categories: Músicas e Músicos Tags:

Roger Hodgson

December 13th, 2009 Comments off

Roger Hodgson (registrado como Charles Roger Pomfret Hodgson, nasceu em 21 de Março de 1950, em Portsmouth, Hampshire, England) é um músico e cantor inglês e co-fundador da banda progressiva Supertramp.

Conhecido por sua voz poder atingir altos agudos, uma marca registrada do Supertramp.

Hodgson nasceu em 1950 e cresceu em Oxford, England numa família de classe média alta. Estudou na famosa Stowe School, em Buckinghamshire.

Ele é conhecido por ter escrito a música “Breakfast in America” ainda na adolescência.

Fase Supertramp (1969-1983)

Igual a Lennon/McCartney, todas as músicas do Supertramp eram registras em nome da dupla Davies/Hodgson, apesar dos mesmos só terem escrito juntos apenas uma música ‘School’, sendo que na maior parte das vezes, o autor era quem a cantava. Roger Hodgson é o autor dos maiores sucessos do Supertramp, tais como “The Logical Song”, “Dreamer”, “Give A Little Bit”, “Breakfast in America”, “It’s Raining Again”, “Take the Long Way Home” e “Fool’s Overture”.

Fase solo (A partir de 1984)

Após sair do Supertramp, em 1983, Hodgson investiu numa carreira solo, lançando em 1984 o álbum In The Eye of the Storm. Imediatamente comparado ao estilo do Supertramp, incluia faixas tais como “Had a Dream (Sleeping with the Enemy)” and “In Jeopardy”.

Neste álbum, Hodgson tocou todos os instrumentos, escreveu todas as músicas, além de ter produzido o álbum.

Seu segundo álbum, em 1987, Hai Hai tinha um estilo mais orientado à experimentação, mas mantendo o estilo de escrever de Hodgson. Antes do lançamento de Hai Hai, Hodgson sofreu um grave acidente em casa, onde fraturou gravemente ossos dois pulsos, fato que o impossibilitou de divulgar o álbum.

Após um longo tempo parado, se recuperando do acidente, Hodgson volta agora mais espiritualizado e faz sua segunda turnê (desde 1984), que resultou no álbum “Rites of Passage” em 1997.

A turnê foi realizada com uma banda completa, incluindo seu filho, Andrew, e o saxofonista do Supertramp John Helliwell. Em 1998, Hodgson faz sua primeira turnê mundial.

Hodgson aparece no álbum Excalibur: La Legende Des Celtes com duas canções: “The Elements,” e “The Will of God.” O projeto foi encabeçado por Alan Simon e lançado em 1999.

Em 2000, Roger Hodgson participou dos vocais na faixa “The Moon Says Hello” de Carlos Núñez do CD Mayo Longo.

O terceiro álbum solo de Hodgson se chamou Open the Door, gravado na França, e lançado em 2000,

Em 2001, ele participou como membro da All-Starr Band tocando o vilão principal, e a partir dessa experiência, tem composto com Trevor Rabin (que apareceu em uma das faixas do disco Open the Door) e Ringo Starr.

Ele também é co-autor do single “Walls” no disco Talk da banda Yes.

Hodgson continua fazendo concertos solos, mas às vezes ele é acompanhado por músicos ou uma grande orquestra. Ele participou da série Night of the Proms concert series na Bélgica e Alemanha em 2004, como também do festiva do rock, Bospop in 2005.

Em Maio de 2006, Roger Hodgson foi homenageado pela ASCAP (Sociedade Americana de Compositores, Autores e Editores), pela autoria da música Give a Little Bit, uma das músicas mais tocadas do Acervo da ASCAP em 2005.

Em Abril de 2008, ele foi homenageado pela ASCAP novemamente pela músicas Cupid’s Chokehold, uma regravação de Breakfast in America feita pela banda Gym Class Heroes.

Em 30 de Novembro de 2005, fez seu primeiro concerto na Inglaterra após 20 anos, no Shepherd’s Bush, Londres. A apresentação foi documentada e agendado para virar um DVD, a idéia, porém, foi abortada.

O concerto acontecido no Palácio das Artes de Montreal, Canadá em 6 de Junho de 2006 acabou sendo seu primeiro DVD, lançado em 21 de Agosto de 2006, intitulado Take The Long Way Home – Live In Montreal. Em Outubro de 2006, o DVD recebeu o disco de platina pela CRIA (Assossiação Canadense das Indústrias de Estúdios de Gravação).

Hodgson participou como orientador (mentor) na versão canadense de ‘Ídolos’, junto com Dennis DeYoung.

Em 2007, Hodgson tocou no Concerto para Diana, no Estádio Wembley em Londres no Reino Unido no dia 1° de Julho de 2007. Ele tocou um pout-pourri de suas músicas mais famosas: “Dreamer”, “The Logical Song”, “Breakfast in America” e “Give A Little Bit”.

Fonte: Wikipedia

Visite o Site Oficial de Roger Hodgson

The Logical Song


Don’t Leave Me Now

Take The Long Way Home

Breakfast In America

Lovers In The Wind


Only Because Of You

It’s Raining Again

Two Of Us

In Jeopardy

Give A Little Bit

Lord Is It Mine


Fool’s Overture

Categories: Músicas e Músicos Tags:

Lynyrd Skynyrd

December 12th, 2009 Comments off

Lynyrd Skynyrd é uma banda de southern rock estadunidense. Tornou-se conhecida no sul dos Estados Unidos em 1973, ganhando maior notoriedade internacional principalmente após a morte de diversos integrantes e do principal compositor Ronnie Van Zant em um acidente aéreo ocorrido em 1977 próximo a Gillsburg, Mississipi.

A banda retornou em 1987, tendo como líder Johnny Van Zant,e continua a gravar e a se apresentar até hoje. O grupo foi incluído no Hall da Fama do Rock and Roll em 13 de março de 2006.

O núcleo do que mais tarde viria a ser o Lynyrd Skynyrd foi formado em meados de 1964, na cidade portuária de Jacksonville, sul da Flórida. Ronnie Van Zant e um vizinho, Robert Burns (Bob), que tinha uma bateria, se juntaram ao colega de escola Gary Rossington que por sua vez, sugeriu para a então banda em formação o baixista Larry Junstrom.

Faltava à banda de garotos um amplificador. Por ter o aparelho e também tocar guitarra, além de ser colega de escola dos outros integrantes, Allen Collins (Larkin Allen Collins Jr.), então no The Mods, juntou-se à banda iniciante.

Começaram a tocar influenciados por country, rock britânico (Rolling Stones, Yardbirds, Cream) e blues. Os barulhentos ensaios aconteciam na garagem da casa de Burns. “Nos plugávamos nossas guitarras no canal limpo, Ronnie colocava seu microfone no normal – eram os três em um amplificador – e Bob tocava bateria. Foi assim que começamos”, disse Gary.

Neste período a banda mudou várias vezes de nome: o primeiro foi My Backyard, seguido por Noble Five, Wildcats, Sons of Satan, Conqueror Worm, Pretty Ones, e One Percent.

O nome Lynyrd Skynyrd surgiria um pouco mais tarde. Durante um show, Ronnie Van Zant anunciou a banda com o nome de Leonard Skinner – o famigerado instrutor de ginástica dos então estudantes Ronnie, Gary e Bob na Robert Lee High School em Jacksonville, que vivia dando suspensão aos garotos por causa dos seus longos cabelos, comportamento que se chocava contra as rígidas normas da escola.

“Nós somos (a banda) One Percent, mas vamos mudar nosso nome esta noite. Todos que quiserem que mudemos para Leonard Skinner, aplaudam!”, disse Ronnie. A platéia conhecia o professor e aprovou o nome no ato. Em seguida, os membros substituíram as vogais por Y, segundo Gary, “para preservar a identidade do culpado”.

Passaram a ensaiar numa espécie de barracão de madeira e zinco, tão pequeno e quente que foi apelidado pelos integrantes de “Hell House”, ao sul de Jacksonville. Foi no calor sufocante da Hell House que o som da banda começou a tomar forma – country, blues e hard rock eram a base sonora do grupo. A despeito das condições severas, a banda estava determinada a ser bem-sucedida, a não perder de vista seus sonhos. Além de músicas próprias, tocavam covers entre outros, de Cream e Creedence Clearwater Revival.

Fazem uma turnê com a banda Strawberry Alarm Clock. A banda começa a ter o nome destacado, estabelecendo-se no sul (Flórida, Tennessee, Geórgia e Alabama) como um bom grupo ao vivo. Neste tempo, juntam-se ao Lynyrd Skynyrd os roadies Dean Kilpatrick e Kevin Elson.

Source: Wikipedia

Beyond the tragedy, the history, the raging guitars and the killer songs, ultimately, Lynyrd Skynyrd is about an indomitable will. About survival of spirit; unbowed, uniquely American, stubbornly resolute.

With their first set of new studio material since 2003’s Vicious Cycle, legendary rock band Lynyrd Skynyrd returns with God & Guns, due out September 29 on Loud & Proud/Roadrunner Records. Recorded in Nashville in 2008-2009, the project was interrupted—but, tellingly, not ended—by the deaths of founding member/keyboardist Billy Powell and longtime bassist Ean Evans earlier this year.

Driven by core members Gary Rossington (guitar), Johnny Van Zant (vocals) and Rickey Medlocke (guitar), along with longtime drummer Michael Cartellone, Lynyrd Skynyrd have recorded an album (“under duress, as usual,” according to Van Zant) that very much lives up to the legacy begun some 35 years ago in Jacksonville, Florida, and halted for a decade by the 1977 plane crash that killed three band members, including Ronnie Van Zant and Steve Gaines. Since then, the band tragically lost Allen Collins, Leon Wilkeson and Hughie Thomasson, yet they rock on.

With the passing of Powell and Evans, “a lot of people probably expected us to say enough is enough,” admits Medlocke. But that would not be the way of this Rock & Roll Hall of Fame powerhouse. With a catalog of over 60 albums and sales beyond 30 million, Lynyrd Skynyrd remains a cultural icon that appeals to all generations, and God & Guns is a fitting addition to the canon. The Skynyrd Nation awaits.

“We wanted to show the people that not only are we doing the old material, keeping the music going, but we still have some new tricks up our sleeves, too,” says founding guitarist Gary Rossington.

Returning to the studio after the death of Powell, whose keyboards can be heard on more than half the songs on God & Guns, was “very difficult, I ain’t gonna lie to you,” says Van Zant. “But we got through it, as Lynyrd Skynyrd seems to always do. Music’s a great healer. These songs needed to be out there, this record needed to be made. Gary, Rickey and myself just said ‘let’s go for it, let’s get this thing done.’”

Unfortunately, coping with loss is familiar to this band. “We just kind of fell back in,” says Rossington. “We’ve been doing this a long time, so you just kind of do what you do. As you get older, you get a little more used to it. You know it’s coming, and it’s coming to you, too. I just thank God for every day and all the time I had with the guys that aren’t with us anymore.”

The crying is over and now it’s time to rock. “We’ve had some really bad moments this year already, and I’m glad we’re able to pick ourselves up by our boot straps and just continue to play,” says Medlocke. “For us to weather through this makes this record even more special. I’m sure Billy and Ean are looking down upon us with big smiles.”

With noted rock producer Bob Marlette, input from guitarist John 5, and a wealth of material written by the band and a cadre of elite Skynyrd-minded songwriters, a remarkable album emerged. “We never really worked with producers that well, we kind of always wanted to do it our way,” admits Rossington. “But Bob Marlette came on and he’s such a great guy; he figured out how to talk to us musically, and we became friends instantly.

He had a lot of fresh ideas and ways to do things, and also wanted to capture the old sounds, too.”

Of John 5, Rossington adds, “he’s probably one of the best guitar players I’ve ever played with, and I’ve played with a lot of great ones. He just lives with a guitar on him, and he knows that neck like nobody I’ve ever seen.”

With a backbone of Southern rock and country, passionate Van Zant vocals, and trademark layered guitars, God & Guns manages to maintain the iconic Skynyrd punch while sounding completely contemporary.

Sure to attract attention in these politically divided times is the title track, which harbors a sense of menace and unwillingness to back down that hearkens back to Skynyrd’s earliest days. The band knows the song, and others like “That Ain’t My America,” will have their critics, but Medlocke says listeners should get beyond the title.

“It’s not just the words ‘God and guns.’ you gotta look past that and look at what this country was founded on: freedom,” Medlocke says. “Everybody should be able to make their own decisions and not be led around by a nose ring and told what to do and when to do it.”

And if some critics don’t like it, “that’s called freedom of choice,” says Medlocke, who carries his Native American heritage with pride. “I’m sure some critics will look at it, God & Guns, the rednecks are back.’ Well, the guys in this band aren’t rednecks, Rickey Medlocke’s the only damn redneck in this band ‘cause I got red skin.”

The title track, along with the unmistakable Skynyrd bite of the first single “Still Unbroken,” form thematic songs for an album laden with attitude, heart and purpose. “Skynyrd’s about tradition,” says Medlocke. “We are guys that don’t go around preaching about our own personal or political beliefs, although I’m sure you could probably guess mine.

In this record is personal tragedy, personal relationships and being on the road, all under that umbrella of real life. That’s what we think, that’s what we believe, and we stand next to that title, God & Guns.”

To portray Skynyrd as a bunch of “gun nuts” would be incorrect, according to Van Zant. “I’m kind of like Ronnie, ‘handguns are made for killing,’ and I’ve never seen anybody shoot a deer with a .38,” he says. “I do own a bunch of rifles, I live out in the swamp, and you’ve got to protect yourself.”

Skynyrd is a band, after all, that has never shied away from standing up and speaking for a segment of the population whose voices are seldom heard. “Everybody’s so scared to say stuff these days, that’s not what I’m about,” says Van Zant. “We live in America, we can speak our minds. These are our values. That doesn’t mean we’re always right in everybody’s mind. Hopefully, we don’t offend a bunch of people. And if we do, well, get a record deal, man, and make your own songs.”

This is a band well aware of the responsibility that comes with putting the name ‘Lynyrd Skynyrd’ on anything, be it an album or a concert. “We feel like we have to keep the standards high,” says Rossington. “I wouldn’t put this record out, I’d fight not to, if I didn’t think it was good.”

And so Skynyrd stands, “still unbroken,” in 2009. “People may say, ‘they need the money,’ well I don’t think any of us need the money,” Van Zant says. “It’s just that we love the music, it’s bigger than the money, it’s not even about that any more.

We have to make a living, sure, but it’s about the legacy of Lynyrd Skynyrd, and what it stands for, what the fans are all about.

There’s nothing like getting out there playing a great show with Skynyrd and seeing people love this music.”

Adds Rossington, “We’re still standing, still keeping the music going. We wanted to do the guys who aren’t with us any more proud, and keep the name proud, too.”

Gary Rossington- Guitar Johnny Van Zant- Vocals Rickey Medlocke- Guitar Mark “Sparky” Matejka- Guitar Michael Cartellone- Drums Robert Kearns – Bass Peter “Keys” Pisarczyk – Keyboards Honkettes: Dale Krantz Rossington- Backing Vocals Carol Chase- Backing Vocals.

Source: Lynyrd Skynyrd website

Simple Man

That Smell

Sweet Home Alabama

Free Bird

Tuesday’s Gone

On The Hunt

Saturday Night Special

Gimme Back My Bullets

Call Me The Breeze

Travellin’ Man

The Ballad Of Curtis Lowe Hughie Tomasson

Gimme Three Steps

Christmas Time Again

What’s Your Name


God and Guns


I Need You

Still Unbroken

Comin’ Home

Every Mother’s Son

Lucky Man

All I Can Do Is Write About It


Categories: Músicas e Músicos Tags:

Summer In The City

December 12th, 2009 Comments off

Summer in the City” is the title of a song recorded by The Lovin’ Spoonful, written by Mark Sebastian (brother of John Sebastian) and Steve Boone.

It came from their album Hums of the Lovin’ Spoonful and it reached number one on the Billboard Hot 100 in August 1966.

The song featured a series of car horns, during the instrumental bridge, starting with a Volkswagen Beetle horn, and ending up with a jackhammer sound, in order to give the impressions of the sounds of the summer in the city.

The song is ranked number 393 on Rolling Stone’s list of The 500 Greatest Songs of All Time. The signature keyboard part is played on a Hohner Pianet, and the organ is a Vox Continental. When at Blair Academy, Mark Sebastian submitted the lyrics as a poem for the literary magazine.

That poem, entitled “Summer In the City,” had the refrain “but at night it’s a different world, go out and find a girl, come on, come on and dance all night, despite the heat it’ll be alright, and babe don’t you know it’s a pity, the days can’t be like the night, in the summer in the city.”

His older brother John changed the slower verses to a more upbeat model, keeping the title and the refrain. Mark’s part remains as he wrote it, words and music. Bassist Steve Boone added the instrumental coda in the middle.

Source: Wikipedia

Summer In The City Lyrics (Mark Sebastian and Steve Boone)

Hot town, summer in the city
Back of my neck getting burnt and gritty
Been down, isn’t it a pity
Doesn’t seem to be a shadow in the city

All around, people looking half dead
Walking on the sidewalk, hotter than a match head

But at night it’s a different world
Go out and find a girl
Come-on come-on and dance all night
Despite the heat it’ll be alright

And babe, don’t you know it’s a pity
That the days can’t be like the nights
In the summer, in the city
In the summer, in the city

Cool town, evening in the city
Dressed so fine and looking so pretty
Cool cat, looking for a kitty
Gonna look in every corner of the city
Till I’m wheezing at the bus stop
Running up the stairs, gonna meet you on the rooftop

But at night it’s a different world
Go out and find a girl
Come-on come-on and dance all night
Despite the heat it’ll be alright

And babe, don’t you know it’s a pity
That the days can’t be like the nights
In the summer, in the city
In the summer, in the city

Hot town, summer in the city
Back of my neck getting dirty and gritty
Been down, isn’t it a pity
Doesn’t seem to be a shadow in the city

All around, people looking half dead
Walking on the sidewalk, hotter than a match head

But at night it’s a different world
Go out and find a girl
Come-on come-on and dance all night
Despite the heat it’ll be alright

And babe, don’t you know it’s a pity
That the days can’t be like the nights
In the summer, in the city
In the summer, in the city

The Lovin’ Spoonful

Joe Cocker


Del Shannon

Isaac Hayes

Quincy Jones

The Drifters

Barry Hay & The Metropole Big Band

Gutter Brothers

The Marmalade


The Modbeats

Butthole Surfers


Inner Circle

Jeff McNeal



Max Werner

The Stranglers

Categories: Músicas e Músicos Tags:

Leonard Cohen

December 7th, 2009 Comments off

Leonard Norman Cohen (Montreal, 21 de setembro de 1934) é um cantor, compositor, poeta e escritor canadense.

Embora seja mais conhecido por suas canções, que alcançaram notoriedade tanto em sua voz quanto na de outros intérpretes, Cohen passou a se dedicar à música apenas depois dos 30 anos, já consagrado como autor de romances e livros de poesia.


Leonard Cohen nasceu em Montreal, província de Quebec, Canadá, de uma família judia de origem polonesa (polaca). A sua infância foi marcada pela morte de seu pai quando Cohen tinha apenas 9 anos, fato que seria determinante para o desenvolvimento de uma depressão que o acompanharia durante boa parte da vida.

Aos 17 anos, ingressa na Universidade McGill e forma um trio de música country. Paralelamente, passa a escrever seus primeiros poemas, inspirado por autores como García Lorca.

Consagração literária

Em 1956, lança seu primeiro livro de poesia, Let Us Compare Mythologies, seguido em 1961 por The Spice Box of Earth, que lhe conferiria fama internacional.

Após o sucesso do livro, Cohen decide viajar pela Europa, e acaba por fixar residência na ilha de Hidra, na Grécia, onde passa a viver junto com Marianne Jensen e seu filho, Axel.

Em 1963 lança The Favorite Game, sua primeira novela, seguida pelo livro de poemas Flowers for Hitler, em 1964, e pela sua segunda novela, Beautiful Losers, em 1966.

Em 2011 foi o vencedor do Prémio Príncipe das Astúrias das Letras.

Carreira musical

Já estabelecido como escritor, Cohen decide se tornar compositor. Para isso, muda-se para os Estados Unidos, onde conhece a cantora Judy Collins, que grava duas de suas composições (“Suzanne” e “Dress Rehearsal Rag”) em seu disco In My Life, de 1966.

No ano seguinte, Cohen participa do Newport Folk Festival, onde chama a atenção do produtor John Hammond, o mesmo que antes havia descoberto, dentre outros, Billie Holiday e Bob Dylan. Songs of Leonard Cohen, seu primeiro disco, é lançado no final do ano, sendo bem recebido por público e crítica.

Seu próximo disco, Songs from a Room, seria produzido por Bob Johnston, produtor dos principais trabalhos de Dylan nos anos 60. Embora não tão bem recebido quanto o anterior, contém a canção “Bird on the Wire”, que o próprio Cohen disse ser a sua favorita dentre as suas composições. Em 1971, lança Songs of Love and Hate, um disco mais sombrio que os anteriores. No mesmo ano, o diretor Robert Altman, em seu filme McCabe & Mrs. Miller, utiliza três canções de Cohen: “Sisters of Mercy”, “Winter Lady” e “The Stranger Song”, todas do primeiro disco do cantor.

Um novo livro de poemas, The Energy of Slaves, é lançado em 1972 e, no ano seguinte, o disco ao vivo Live Songs.

Também em 1973, por ocasião da Guerra do Yom Kipur, Cohen faz uma série de shows gratuitos para soldados israelenses. Baseada no poema “Unetaneh Tokef ” da tradição judaica, surgiria a canção “Who by Fire”, incluída no álbum New Skin for the Old Ceremony, a ser lançado no ano seguinte.

Recesso e parcerias

Após o disco de 1974, Cohen decide se afastar do mundo da música, resultado não só de uma confessa falta de inspiração, mas também de sua insatisfação com as exigências do mercado.

Seu retorno se daria em 1977 com Death of a Ladies’ Man, produzido por Phil Spector, que foi também o co-autor de quase todo o repertório do disco. O álbum foi marcado por atritos após as gravações, quando Spector se trancou em seu estúdio para o processo de mixagem, não permitindo que nem mesmo Cohen interferisse no resultado final. Por conta disso é até hoje notória a insatisfação do cantor com o disco, o qual classifica como sendo o mais fraco de todos. Em 1978, numa alusão ao álbum do ano anterior, seria a vez do lançamento do livro Death of a Lady’s Man.

Em 1979 reaproxima-se do estilo dos seus primeiros trabalhos com Recent Songs, cuja turnê foi registrada no disco Field Commander Cohen: Tour of 1979, lançado apenas em 2001. Entre os integrantes de sua banda de apoio encontravam-se Sharon Robinson, co-autora de várias canções de Cohen a partir da década de 80, e Jennifer Warnes.

Após a turnê, seguiu-se mais um período de reclusão, no qual dedicou-se à escrita e ao estudo do budismo. Só voltaria a lançar novos trabalhos em 1984, com o disco Various Positions e o livro de poemas Book of Mercy. Embora a essa altura sua popularidade nos Estados Unidos estivesse em baixa, sua música ainda fazia grande sucesso em alguns países da Europa como França e Noruega.

Ressurgimento e aclamação

Em 1988, retorna com o álbum I’m Your Man, aclamado por crítica e público. Parte dessa boa recepção deve ser creditada a Famous Blue Raincoat – The Songs of Leonard Cohen, disco tributo lançado por Jennifer Warnes um ano antes, que apresentou as canções do canadense a toda uma nova geração de fãs.

Paralelamente, muitos dos jovens músicos ligados ao folk e ao indie-rock da época diziam-se influenciados pelo trabalho do cantor. Parte desses músicos seria responsável pelo disco-tributo I’m Your Fan, lançado em 1991. Dentre estes, destacavam-se R.E.M., Ian McCulloch (vocalista do Echo & the Bunnymen) e Nick Cave and the Bad Seeds.

No ano seguinte lançaria The Future e, em 1994, Cohen Live, contendo registros de apresentações ao vivo entre os anos de 1988 e 1993.

Retiro budista

Em 1994, consolidando a sua aproximação com o budismo, Cohen passa a viver no mosteiro de Mount Baldy Zen Center, próximo de Los Angeles. Em 1996, seria ordenado monge zen, e ganharia o nome Dharma de Jikan (“silencioso”).

Nesse meio-tempo é lançado, em 1995, um outro disco-tributo, Tower of Songs, dessa vez com nomes mais conhecidos, como Elton John, Bono e Willie Nelson.

No mesmo ano é lançado o livro Dance Me to the End of Love, onde poesias suas são mescladas com pinturas do francês Henri Matisse.

Sua experiência no mosteiro iria até o ano de 1999, quando voltaria a morar em Los Angeles. Apesar disso, Cohen ainda se considera judeu, ressaltando que não procura “por uma nova religião”.

Retorno à música

Em 2001, lança Ten New Songs, seu primeiro disco de inéditas em sete anos, feito em parceria com Sharon Robinson. Em 2004 seria a vez de Dear Heather.

Em maio de 2006 é lançado o disco Blue Alert da cantora Anjani Thomas, sua namorada e ex-vocalista de sua banda de apoio. Cohen foi o produtor e co-autor de todas as faixas do disco.

Menos de um mês depois é lançado o aclamado documentário Leonard Cohen: I’m Your Man, onde relatos do cantor são intercalados com versões de suas músicas interpretadas por artistas como Rufus Wainwright e Nick Cave. No fim da película o próprio Cohen interpreta, junto ao U2, a música “Tower of Song”

Fonte: Wikipedia


The Gypsy’s Wife

Dance Me To The End Of Kove

Woke Up This Morning

Joan of Arc

I’m Your Man

If It Be Your Will

Everybody Knows

Ain’t No Cure For Love

Waiting For The Miracle


In My Secret Life

Blessed Is The Memory

Here It Is

Tower of Song (com o U2)

Who By Fire

A Thousand Kisses Deep

Closing Time

Everybody Knows

Famous Blue Raincoat

Death Of a Ladies’ Man

Take This Waltz

Bird On The Wire

Everybody Knows

Never Any Good

So Long, Marianne


Hey, That’s No Way To Say Goodbye

The Stranger Song

Dress Rehearsal Rag

Sisters Of Mercy

Tonight Will Be Fine

Story of Isaac

Categories: Músicas e Músicos Tags: