Buddy Guy - I Put A Spell On You

Buddy Guy is one of the titans of the blues, straddling traditional and modern forms, as well as musical generations. He’s worked with Muddy Waters, Little Walter and Howlin’ Wolf, on one hand, and Eric Clapton, Stevie Ray Vaughan and the Rolling Stones, on the other. There are few notable blues figures that Guy hasn’t brushed up against. He was even an influence on Jimi Hendrix.

The genre’s most electrifying guitarist, Guy has remained a vital and current musician, moving blues forward without losing sight of its roots. He’s renowned for his raw, blistering vocals and high-voltage guitar playing. His plays a Fender Stratocaster, employing feedback, distortion and extreme string-bending. He spent much of the Sixties on the venerable Chess label and thereafter recorded for Vanguard, Atco, Silvertone and others. Guy attained great stature within blues circles over the course of three decades, but his career broke wide open in 1991 with the release of Damn Right, I’ve Got the Blues. This landmark release won him a Grammy and five W.C. Handy awards, and he recorded and toured prolifically in its wake.

Clapton has proclaimed Guy “by far without a doubt the best guitar player alive… He really changed the course of rock and roll blues.” Guy regards himself as a “caretaker of the blues.” Having learned from the likes of Waters, Otis Rush, Guitar Slim and Magic Sam, he explains, “I just take what they taught me and keep adding to it.”

George “Buddy” Guy was born in 1936 in Lettsworth, Louisiana. His earliest influences included T-Bone Walker, Lightnin’ Slim and Lightnin’ Hopkins – blues musicians who were all uniquely expressive stylists and showmen. Guy’s high-energy showmanship also owed a debt to Guitar Slim (a.k.a. Eddie Jones), of “The Things That I Used to Do” fame. As Guy stated in his autobiography, “I wanted to play like B.B. King but act like Guitar Slim.” Along the way, he developed his own style, typified by a fierce staccato attack and tense single-note solos.

He spent a year and a half playing with John “Big Poppa” Tilley’s band in Baton Rouge. After sending a tape to Chess Records, Guy headed to Chicago in 1958 to seek his fortune. He drew attention on the club circuit for his fiery fretwork and showmanship. With assistance from his friend and fellow bluesman, Magic Sam, Guy got signed to Cobra Records (releasing a few singles on its Artistic subsidiary). A year later Cobra folded and Guy – along with labelmates Willie Dixon and Otis Rush – moved to Chess, where he played recorded from 1960 to 1967.

Guy’s Chess sides never won the recognition that accrued to some of his labelmates, but he scored a hit with “Stone Crazy,” his fourth single for the label. In an edited version (the original ran for seven minutes), it went to Number 12 R&B in 1962. Another highlight of his Chess tenure was “When My Left Eye Jumps,” a menacing slow blues penned by Willie Dixon. While at Chess, Guy also served as an in-house guitarist, playing on sessions for Muddy Waters, Howlin’ Wolf, Little Walter, Koko Taylor and others. Notably, he performed on Koko Taylor’s “Wang Dang Doodle” and Howlin’ Wolf’s “Killing Floor.”

Taking notice of the evolving blues-rock scene in England, Guy left Chess in 1968 and moved to Vanguard Records, where he cut the classic albums A Man and His Blues and Hold That Plane. In 1970, Buddy and the Juniors (a trio of Guy, harmonica player Junior Wells and pianist Junior Mance) was released on Blue Thumb. Guy’s partnership with Wells yielded the 1972 album Buddy Guy and Junior Wells Play the Blues. A spontaneous, tradition-minded blues set, it was produced by the impressive triumvirate of Eric Clapton, Ahmet Ertegun and Tom Dowd, and released on Atco Records. Rolling Stones bassist Bill Wyman produced and played on the Guy-Wells live album Drinkin’ TNT ‘n’ Smokin’ Dynamite, recorded in 1974.

Although he continued to perform, Guy’s recording career stalled somewhat in the Eighties. In 1989, he opened the blues club Legends in Chicago, which became a favorite hangout for blues musicians. Guy’s comeback began when he joined Eric Clapton onstage at London’s Royal Albert Hall during the guitarist’s multi-night run in 1990-91. That exposure led to a new recording contract. Damn Right, I’ve Got the Blues was the first of many albums on the Silvertone label and ignited a full-blown renaissance that made Guy the preeminent blues guitarist of the Nineties. In fact, Damn Right, I’ve Got the Blues became that rarity: a blues accord that sold well enough to earn a gold record (500,000 copies sold). The star-studded album included cameos by such acolytes as Eric Clapton, Jeff Beck and Mark Knopfler. Two years later, he released Feels Like Rain, which included contributions from Bonnie Raitt, Travis Tritt and John Mayall. Later that same year, Guy received the prestigious Century Award “for distinguished artistic achievement” from Billboard magazine.

Well into his 70s, Guy is still going strong. Recent releases have included Sweet Tea, an electric blues album recorded in Mississippi; and Blues Singer, a 2003 acoustic set in which Guy covers favorites by such peers as Skip James, Son House and John Lee Hooker.

Raul Seixas - Banquete de Lixo

Banquete de Lixo, é parte do álbum A Panela do Diabo de 1989, a música como nas parcerias Lennon/McCartney é assinada por Raul Seixas e Marcelo Nova. Este disco foi lançado dois dias antes da morte de Raulzito e diz muito em suas entrelinhas. Para mim, Raul sabia que ia morrer logo. Me emociono a cada vez que ouço esta música.

Banquete de Lixo, this song is part of the album A Panela do Diabo from 1989. The song was signed off by Raul Seixas and Marcelo Nova, like Lennon / Mccartney with The Beatles songs. The album was released just 2 days before Raulzito's death.

Às 3 horas da manhã na cidade tão estranha
Um palhaço teve a manha de um banquete apresentar
E era um latão de lixo transbordando em Nova Iorque catchup e caviar

E eu dormindo embriagado, um par de coxas do meu lado
E eu sem saber se devia ou não tocar
Se era estrangeira, mãe, esposa ou outra besteira
Que eu inventei de aprontar

O hoje é apenas um furo no futuro
Por onde o passado começa a jorrar
E eu aqui isolado onde nada é perdoado
Vi o fim chamando o princípio pra poderem se encontrar

Fui levado na marra, pois enfermeiro quando agarra
É que nem ordem de prisão
A ambulância me esperava, e aí o que rolava, internamento einjeção

E lá em Serra Pelada, ouro no meio do nada
Dor de barriga desgraçada resolveu me atacar
O show estava começando e eu no escuro me apertando
E autografando sem parar

REFRÃO

Muitas mulheres eu amei e com tantas me casei
Mas agora é Raul Seixas que Raul vai encarar
Nem todo bem que conquistei, nem todo mal que eu causei
Me dão direito de poder lhe ensinar

Meu amigo Marceleza já me disse com certeza
Não sou nenhuma ficção
E é assim torto de verdade com amor e com maldade
Um abraço e até outra vez

Buddy Guy : Mustang Sally

Buddy Guy is one of the titans of the blues, straddling traditional and modern forms, as well as musical generations. He’s worked with Muddy Waters, Little Walter and Howlin’ Wolf, on one hand, and Eric Clapton, Stevie Ray Vaughan and the Rolling Stones, on the other. There are few notable blues figures that Guy hasn’t brushed up against. He was even an influence on Jimi Hendrix.

The genre’s most electrifying guitarist, Guy has remained a vital and current musician, moving blues forward without losing sight of its roots. He’s renowned for his raw, blistering vocals and high-voltage guitar playing. His plays a Fender Stratocaster, employing feedback, distortion and extreme string-bending. He spent much of the Sixties on the venerable Chess label and thereafter recorded for Vanguard, Atco, Silvertone and others. Guy attained great stature within blues circles over the course of three decades, but his career broke wide open in 1991 with the release of Damn Right, I’ve Got the Blues. This landmark release won him a Grammy and five W.C. Handy awards, and he recorded and toured prolifically in its wake.

Clapton has proclaimed Guy “by far without a doubt the best guitar player alive… He really changed the course of rock and roll blues.” Guy regards himself as a “caretaker of the blues.” Having learned from the likes of Waters, Otis Rush, Guitar Slim and Magic Sam, he explains, “I just take what they taught me and keep adding to it.”

George “Buddy” Guy was born in 1936 in Lettsworth, Louisiana. His earliest influences included T-Bone Walker, Lightnin’ Slim and Lightnin’ Hopkins – blues musicians who were all uniquely expressive stylists and showmen. Guy’s high-energy showmanship also owed a debt to Guitar Slim (a.k.a. Eddie Jones), of “The Things That I Used to Do” fame. As Guy stated in his autobiography, “I wanted to play like B.B. King but act like Guitar Slim.” Along the way, he developed his own style, typified by a fierce staccato attack and tense single-note solos.

He spent a year and a half playing with John “Big Poppa” Tilley’s band in Baton Rouge. After sending a tape to Chess Records, Guy headed to Chicago in 1958 to seek his fortune. He drew attention on the club circuit for his fiery fretwork and showmanship. With assistance from his friend and fellow bluesman, Magic Sam, Guy got signed to Cobra Records (releasing a few singles on its Artistic subsidiary). A year later Cobra folded and Guy – along with labelmates Willie Dixon and Otis Rush – moved to Chess, where he played recorded from 1960 to 1967.

Guy’s Chess sides never won the recognition that accrued to some of his labelmates, but he scored a hit with “Stone Crazy,” his fourth single for the label. In an edited version (the original ran for seven minutes), it went to Number 12 R&B in 1962. Another highlight of his Chess tenure was “When My Left Eye Jumps,” a menacing slow blues penned by Willie Dixon. While at Chess, Guy also served as an in-house guitarist, playing on sessions for Muddy Waters, Howlin’ Wolf, Little Walter, Koko Taylor and others. Notably, he performed on Koko Taylor’s “Wang Dang Doodle” and Howlin’ Wolf’s “Killing Floor.”

Taking notice of the evolving blues-rock scene in England, Guy left Chess in 1968 and moved to Vanguard Records, where he cut the classic albums A Man and His Blues and Hold That Plane. In 1970, Buddy and the Juniors (a trio of Guy, harmonica player Junior Wells and pianist Junior Mance) was released on Blue Thumb. Guy’s partnership with Wells yielded the 1972 album Buddy Guy and Junior Wells Play the Blues. A spontaneous, tradition-minded blues set, it was produced by the impressive triumvirate of Eric Clapton, Ahmet Ertegun and Tom Dowd, and released on Atco Records. Rolling Stones bassist Bill Wyman produced and played on the Guy-Wells live album Drinkin’ TNT ‘n’ Smokin’ Dynamite, recorded in 1974.

Although he continued to perform, Guy’s recording career stalled somewhat in the Eighties. In 1989, he opened the blues club Legends in Chicago, which became a favorite hangout for blues musicians. Guy’s comeback began when he joined Eric Clapton onstage at London’s Royal Albert Hall during the guitarist’s multi-night run in 1990-91. That exposure led to a new recording contract. Damn Right, I’ve Got the Blues was the first of many albums on the Silvertone label and ignited a full-blown renaissance that made Guy the preeminent blues guitarist of the Nineties. In fact, Damn Right, I’ve Got the Blues became that rarity: a blues accord that sold well enough to earn a gold record (500,000 copies sold). The star-studded album included cameos by such acolytes as Eric Clapton, Jeff Beck and Mark Knopfler. Two years later, he released Feels Like Rain, which included contributions from Bonnie Raitt, Travis Tritt and John Mayall. Later that same year, Guy received the prestigious Century Award “for distinguished artistic achievement” from Billboard magazine.

Well into his 70s, Guy is still going strong. Recent releases have included Sweet Tea, an electric blues album recorded in Mississippi; and Blues Singer, a 2003 acoustic set in which Guy covers favorites by such peers as Skip James, Son House and John Lee Hooker.

Spam report: February 2012

• February in figures
• Spam in the spotlight
• Statistical summary
  • Sources of spam
  • Malware in mail traffic
  • Phishing
  • Spam by category
• Conclusion

Source: Securelist

Raul Seixas - How Could I Know

How Could I Know is a song composed and written by Raul Seixas and was recorded in the album Krig-ha, Bandolo! from 1973.


Reformulation,
Rearrange the game you're in
Let us start from the begin
With confidence you'll win
That's the reason you were born


'cause Jesus Christ, man,
Won't be coming
Back no more
He set up his proper laws
And you know well that He did
Just what
He should have done


As i was growing
And my hair was getting longer
I was feeling so much stronger
I could carry my guitar,
And i knew that i could sing!!


But hey, how could i know?
The wind would blow with the rain
Hey, how could i see
What would they make
Out of me?


When i was little, used to dream
I was a king
Now they taught me how to sing
Think i've got most everything
I could ever ask for


You've got your pencil, your guitar,
Your amplifier
Searching for the lousy liars
You will set this world on fire
Like nero did to rome!! yeah!


But hey, how could i know
My eyes could see in the dark?
Hey, don't press on me
I'm not to blame can't you see?


It's been too long now
Since the latest "reb" has gone
Who knows you'll be the next
To go down in history?

Buddy Guy - First Time I Met The Blues

Buddy Guy is one of the titans of the blues, straddling traditional and modern forms, as well as musical generations. He’s worked with Muddy Waters, Little Walter and Howlin’ Wolf, on one hand, and Eric Clapton, Stevie Ray Vaughan and the Rolling Stones, on the other. There are few notable blues figures that Guy hasn’t brushed up against. He was even an influence on Jimi Hendrix.

The genre’s most electrifying guitarist, Guy has remained a vital and current musician, moving blues forward without losing sight of its roots. He’s renowned for his raw, blistering vocals and high-voltage guitar playing. His plays a Fender Stratocaster, employing feedback, distortion and extreme string-bending. He spent much of the Sixties on the venerable Chess label and thereafter recorded for Vanguard, Atco, Silvertone and others. Guy attained great stature within blues circles over the course of three decades, but his career broke wide open in 1991 with the release of Damn Right, I’ve Got the Blues. This landmark release won him a Grammy and five W.C. Handy awards, and he recorded and toured prolifically in its wake.

Clapton has proclaimed Guy “by far without a doubt the best guitar player alive… He really changed the course of rock and roll blues.” Guy regards himself as a “caretaker of the blues.” Having learned from the likes of Waters, Otis Rush, Guitar Slim and Magic Sam, he explains, “I just take what they taught me and keep adding to it.”

George “Buddy” Guy was born in 1936 in Lettsworth, Louisiana. His earliest influences included T-Bone Walker, Lightnin’ Slim and Lightnin’ Hopkins – blues musicians who were all uniquely expressive stylists and showmen. Guy’s high-energy showmanship also owed a debt to Guitar Slim (a.k.a. Eddie Jones), of “The Things That I Used to Do” fame. As Guy stated in his autobiography, “I wanted to play like B.B. King but act like Guitar Slim.” Along the way, he developed his own style, typified by a fierce staccato attack and tense single-note solos.

He spent a year and a half playing with John “Big Poppa” Tilley’s band in Baton Rouge. After sending a tape to Chess Records, Guy headed to Chicago in 1958 to seek his fortune. He drew attention on the club circuit for his fiery fretwork and showmanship. With assistance from his friend and fellow bluesman, Magic Sam, Guy got signed to Cobra Records (releasing a few singles on its Artistic subsidiary). A year later Cobra folded and Guy – along with labelmates Willie Dixon and Otis Rush – moved to Chess, where he played recorded from 1960 to 1967.

Guy’s Chess sides never won the recognition that accrued to some of his labelmates, but he scored a hit with “Stone Crazy,” his fourth single for the label. In an edited version (the original ran for seven minutes), it went to Number 12 R&B in 1962. Another highlight of his Chess tenure was “When My Left Eye Jumps,” a menacing slow blues penned by Willie Dixon. While at Chess, Guy also served as an in-house guitarist, playing on sessions for Muddy Waters, Howlin’ Wolf, Little Walter, Koko Taylor and others. Notably, he performed on Koko Taylor’s “Wang Dang Doodle” and Howlin’ Wolf’s “Killing Floor.”

Taking notice of the evolving blues-rock scene in England, Guy left Chess in 1968 and moved to Vanguard Records, where he cut the classic albums A Man and His Blues and Hold That Plane. In 1970, Buddy and the Juniors (a trio of Guy, harmonica player Junior Wells and pianist Junior Mance) was released on Blue Thumb. Guy’s partnership with Wells yielded the 1972 album Buddy Guy and Junior Wells Play the Blues. A spontaneous, tradition-minded blues set, it was produced by the impressive triumvirate of Eric Clapton, Ahmet Ertegun and Tom Dowd, and released on Atco Records. Rolling Stones bassist Bill Wyman produced and played on the Guy-Wells live album Drinkin’ TNT ‘n’ Smokin’ Dynamite, recorded in 1974.

Although he continued to perform, Guy’s recording career stalled somewhat in the Eighties. In 1989, he opened the blues club Legends in Chicago, which became a favorite hangout for blues musicians. Guy’s comeback began when he joined Eric Clapton onstage at London’s Royal Albert Hall during the guitarist’s multi-night run in 1990-91. That exposure led to a new recording contract. Damn Right, I’ve Got the Blues was the first of many albums on the Silvertone label and ignited a full-blown renaissance that made Guy the preeminent blues guitarist of the Nineties. In fact, Damn Right, I’ve Got the Blues became that rarity: a blues accord that sold well enough to earn a gold record (500,000 copies sold). The star-studded album included cameos by such acolytes as Eric Clapton, Jeff Beck and Mark Knopfler. Two years later, he released Feels Like Rain, which included contributions from Bonnie Raitt, Travis Tritt and John Mayall. Later that same year, Guy received the prestigious Century Award “for distinguished artistic achievement” from Billboard magazine.

Well into his 70s, Guy is still going strong. Recent releases have included Sweet Tea, an electric blues album recorded in Mississippi; and Blues Singer, a 2003 acoustic set in which Guy covers favorites by such peers as Skip James, Son House and John Lee Hooker.

Raul Seixas - Let Me Sing My Rock'n'Roll

"O HOJE é apenas um furo no FUTURO, por onde o PASSADO começa a jorrar".

Raul Santos Seixas, bahiano de Dias Dávila, nascido em 28/06/45 e entrou definitivamente para a história em 21/08/89. Teve 5 esposas, 3 filhas, e hoje mais de 20 anos após sua morte, tem milhões de fãs.

Raulzito morreu sozinho. Não estavam com ele nenhuma das ex-esposas, filhas ou os "amigos" que tanto "cuidam" da sua obra.

Eu sou raulseixista. Ouvi Raul pela primeira vez em 1983, era o álbum Krig-Ha Bandolo!, que foi lançado em 1973. Eu escuto, divulgo e sempre falo de Raul ainda hoje, mas sou radicalmente contra quem diz ser "dono" de sua obra e simplesmente quer levar a vida sem trabalhar e "viver" do negócio chamado Raul Seixas. Por que podem lançar qulaquer coisa, seja filme, disco, livro, não importa...sempre haverá um verdadeiro raulseixista para comprar.

Em vida Raul lançou os discos relacionandos abaixo:

Discografia Oficial

1968 – RAULZITO E OS PANTERAS
1971 – SOCIEDADE DA GRÃ-ORDEM KAVERNISTA APRESENTA SESSÃO DAS 10
1973 – OS 24 MAIORES SUCESSOS DA ERA DO ROCK
1973 – KRIG-HÁ BANDOLO!
1974 – GITA
1974 – O REBÚ – Trilha Sonora Original por Raul Seixas e Paulo Coelho 
1975 – 20 ANOS DE ROCK
1975 – NOVO AEON
1976 – HÁ DEZ MIL ANOS ATRÁS
1977 – RAUL ROCK SEIXAS 1977 – O DIA EM QUE A TERRA PAROU
1978 – MATA VIGEM
1979 – POR QUEM OS SINOS DOBRAM
1980 – ABRE-TE SÉSAMO
1983 – RAUL SEIXAS
1984 – RAUL SEIXAS AO VIVO – ÚNICO E EXCLUSIVO
1984 – METRÔ LINHA 743
1985 – LET ME SING MY ROCK AND ROLL
1985 – RAUL SEIXAS – 30 ANOS DE ROCK
1986 – RAUL ROCK VOLUME 2
1987 – UAH-BAP-LU-BAP-LAH-BÉIN-BUM!
1988 – A PEDRA DO GÊNESIS
1989 – A PANELA DO DIABO 

Álbuns Antológicos / Coletâneas

1982 – A ARTE DE RAUL SEIXAS
1987 – CAROÇO DE MANGA

Após sua morte, chovem coletâneas e "homenagens". Nos primeiros anos após sua morte até acreditava nisso. Para mim, infelizmente agora, o que procuram é continuar ganhando dinheiro e simplesmente não trabalhar, viver de Raul Seixas. Eu participei de várias "passeatas" em homenagem ao Raul, que acontecem todos os anos, no aniversário de sua morte. Muitos dos que lançam, novidades do fundo do chamado "Baú do Raul", nunca estão por lá e quando passam, não ficam mais de quinze minutos e avisam antes a imprensa. Simplesmente querem aparecer na TV. Já houve documentários na TV e séries, mas no fundo os verdadeiros raulseixistas são aqueles que ouvem e entendem a sua música. São aqueles que vão a passeata, sem interesse, sem querer se promover, que não usam a data da sua morte pra todo ano aparecer com uma "gravação histórica". Mostrem tudo de uma vez. Raul Seixas já é um nome que jamais será esquecido. Os verdadeiros raulseixistas vão a passeata para cantar e relembrar. para cantar e curtir. O bom e velho rock'n'roll.

"Cantar,...tudo que vier na cabeça, eu vou cantar até que o dia amanheça". 


Cataloguei abaixo, algumas das obras póstumas que ainda considero úteis. Tem muito mais por aí e a cada ano aparecem novas.

Álbuns Póstumos

1990 – MALUCO BELEZA
1991 – EU, RAUL SEIXAS – Ao Vivo – Praia do Gonzaga – 1982
1992 – O BAÚ DO RAUL
1993 – RAUL VIVO (Ao Vivo – Shows em São Paulo 1983)
1994 – SE O RÁDIO NÃO TOCA (Ao Vivo – Show em Brasília 1974)

Raul Seixas - mito, lenda, Pai do Rock Nacional. É disso que o Fiel do Rock está falando e quer seguir falando. Pra conhecer Raul, simplesmente ouça suas músicas.

Também recomendo os livros abaixo:

Raul Seixas por ele mesmo – Sylvio Passos – Martin Claret Editores, SP – 1990
Raul Seixas, uma antologia – Sylvio Passos e Toninho Buda, Martin Claret Editores, SP – 1992
Baú do Raul – Kika Seixas e Tárik de Sousa, Editora Globo, SP – 1992

Não preciso falar mais nada de Raul. Até hoje só havia postado músicas, mas para o blog manter o padrão, como faço com os outros artistas, que o post tenha um histórico, uma biografia breve, resolvi escrever estas linhas.
Não linkarei com nenhum site como sempre faço, porque na minha humilde opinião, nenhum é realmente "Oficial".

"Não sei onde eu tô indo mas sei que eu tô no meu caminho".

Existem uma infinidade de fã-clubes - e recomendo todos eles. Procure o que mais lhe agrada. Seja o seu próprio mundo.

"Antes de ler o livro que o guru lhe deu você tem que escrever o seu".

Da minha parte, chega de blá, blá, blá... Let's Rock! TOCA RAUL!!!

Son House - Preachin' The Blues - Part 2

Born near Lyon, Mississippi, March 21, 1902, Son House (Eddie James House Jr) chopped cotton as a teenager while developing a passion for the Baptist church. He delivered his first sermon at the age of fifteen and within five years was the pastor of a small country church south of Lyon. His fall from the church was a result of an affair with a woman ten years his senior, whom he followed home to Louisiana. By 1926, House had returned to the Lyon area and began playing guitar under the tutelage of an obscure local musician named James McCoy. He developed quickly as a guitarist; within a year he had fallen in with Delta musician Rube Lacy and began emulating his slide guitar style. House shot and killed a man during a house party near Lyon in 1928. He was sentenced to work on Parchman Farm, but was released within two years after a judge in Clarksdale re-examined the case. Having been advised by the judge to leave the Clarksdale vicinity, House relocated to Lula and there met bluesman Charley Patton while playing at the Lula railroad depot for tips.

Patton befriended House, who began working as a musician around the Kirby Plantation. In 1930, Patton brought him, guitarist Willie Brown, and pianist Louise Johnson to Grafton, Wisconsin, for a recording session with Paramount Records. House's influence on the Delta School of musicians can be judged from a handful of recordings made in Grafton. His song "Preachin' The Blues Part I & II" was a six-minute biography of his life and served as inspiration for Robert Johnson's "Preaching Blues" and "Walking Blues." House's powerful vocals and slashing slide guitar style established him as a giant of the Delta School but did not lead to commercial success. House continued playing with Willie Brown during the 1930s and developed a relationship with a young Robert Johnson after moving to Robinsonville, Mississippi. After Johnson had learned to play guitar, he began to gig with House and Brown, learning the older musicians' licks.

House, Willie Brown, Fiddlin' Joe Martin, and Leroy Williams were recorded by folklorist Alan Lomax near Lake Cormorant, Mississippi, in 1941 for the Library of Congress. Lomax returned the next year to record House in Robinsonville, but the musician did not make another commercial record until the "blues revival" of the 1960s. His influence, however, would be felt through the recordings of Johnson, Muddy Waters, Howlin' Wolf, Elmore James, Robert Nighthawk, and other successful blues artists.

Son House died October 19, 1988.

Son House - Preachin' The Blues, Part 1

Born near Lyon, Mississippi, March 21, 1902, Son House (Eddie James House Jr) chopped cotton as a teenager while developing a passion for the Baptist church. He delivered his first sermon at the age of fifteen and within five years was the pastor of a small country church south of Lyon. His fall from the church was a result of an affair with a woman ten years his senior, whom he followed home to Louisiana. By 1926, House had returned to the Lyon area and began playing guitar under the tutelage of an obscure local musician named James McCoy. He developed quickly as a guitarist; within a year he had fallen in with Delta musician Rube Lacy and began emulating his slide guitar style. House shot and killed a man during a house party near Lyon in 1928. He was sentenced to work on Parchman Farm, but was released within two years after a judge in Clarksdale re-examined the case. Having been advised by the judge to leave the Clarksdale vicinity, House relocated to Lula and there met bluesman Charley Patton while playing at the Lula railroad depot for tips.

Patton befriended House, who began working as a musician around the Kirby Plantation. In 1930, Patton brought him, guitarist Willie Brown, and pianist Louise Johnson to Grafton, Wisconsin, for a recording session with Paramount Records. House's influence on the Delta School of musicians can be judged from a handful of recordings made in Grafton. His song "Preachin' The Blues Part I & II" was a six-minute biography of his life and served as inspiration for Robert Johnson's "Preaching Blues" and "Walking Blues." House's powerful vocals and slashing slide guitar style established him as a giant of the Delta School but did not lead to commercial success. House continued playing with Willie Brown during the 1930s and developed a relationship with a young Robert Johnson after moving to Robinsonville, Mississippi. After Johnson had learned to play guitar, he began to gig with House and Brown, learning the older musicians' licks.

House, Willie Brown, Fiddlin' Joe Martin, and Leroy Williams were recorded by folklorist Alan Lomax near Lake Cormorant, Mississippi, in 1941 for the Library of Congress. Lomax returned the next year to record House in Robinsonville, but the musician did not make another commercial record until the "blues revival" of the 1960s. His influence, however, would be felt through the recordings of Johnson, Muddy Waters, Howlin' Wolf, Elmore James, Robert Nighthawk, and other successful blues artists.

Son House died October 19, 1988.

John the Revelator

"John the Revelator" is a traditional Gospel/blues call and response song. In the chorus, John of Patmos, the traditional author of the Book of Revelation, is writing "the book of the seven seals." At the time of the song's composition (and in modern times), John of Patmos was generally considered the same person as John the Apostle and John the Evangelist.
The song was recorded on April 20, 1930 in Atlanta, Georgia by Blind Willie Johnson and is included in the Anthology of American Folk Music. In this version Johnson's first wife Willie B. Harris performs the response parts of the song.
Son House also recorded several a cappella versions in the 1960s.
Here, we can see also a Blues Brothers version, embedded on Blues Brothers 2000 movie, performed by Sam Moore, Joe Morton, Sharon Riley and the Faith Chorale, as well as The Blues Brothers Band.

Raul Seixas - Coisas do Coração

Coisas do Coração é parte do albúm Raul Seixas (também conhecido como Carimbador Maluco) de 1983. Assinam a música Raul Seixas, Claudio Roberto e Kika Seixas.

Coisas do Coração is part of the album Raul Seixas (also known as Carimbador Maluco) from 1983. The song was signed by Raul Seixas, Claudio Roberto and Kika Seixas.


Quando o navio finalmente alcançar a terra
E o mastro da nossa bandeira se enterrar no chão
Eu vou poder pegar em sua mão
Falar de coisas que eu não disse ainda não

Coisas do coração!
Coisas do coração!

Quando a gente se tornar rima perfeita
E assim virarmos de repente uma palavra só
Igual a um nó que nunca se desfaz
Famintos um do outro como canibais

Paixão e nada mais!
Paixão e nada mais!

Somos a resposta exata do que a gente perguntou
Entregues num abraço que sufoca o próprio amor
Cada um de nós é o resultado da união
De duas mãos coladas numa mesma oração!

Coisas do coração!
Coisas do coração!

Elvis Presley - Jailhouse Rock

"Jailhouse Rock" is a song written by Jerry Leiber and Mike Stoller that first became a hit for Elvis Presley. The song was released as a 45rpm single on September 24, 1957, to coincide with the release of Presley's motion picture, Jailhouse Rock.
The song as sung by Elvis Presley is #67 on Rolling Stone's list of The 500 Greatest Songs of All Time and was named one of The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.

Handy's Orchestra - Aunt Hagar's Blues - 1923

William Christopher "W.C." Handy was born in Florence, Alabama, November 16, 1873, the son of former slaves. His first instrument was the coronet, and he advanced from lessons in a barbershop to studying classical music. While still a teenager Handy began teaching school but left for better paying work in a factory. At the age of twenty, he organized a quartet to play the 1893 Chicago World's Fair, a gathering that attracted other musical luminaries of the time, notably ragtime pianist Scott Joplin.

After the fair, Handy toured with various ensembles and taught music at Alabama A&M in Huntsville. He left teaching and joined Mahara's Minstrels in 1896 as a cornetist. Handy toured the country with the group, and quickly became their leader. In 1903, he moved to Clarksdale, Mississippi, to direct the Colored Knights of Pythias, an entourage that performed for both whites and blacks. During a performance for a white audience, a request was made to "play some of your own music." When the band resumed, the whites shouted that Handy was not honoring their request. During a break, three local black men with stringed instruments took the stage and played a primitive blues that brought an appreciative reaction from the crowd. The crowd's reaction caused the bandleader to reconsider the band's repertoire, noting the strong response that "primitive music" created. In 1903, while waiting for a train at a station in Tutwiler, Mississippi, Handy heard a black musician playing a guitar with a knife. The man was singing about going Where The Southern Crosses The Dog, and Handy recalled "it was the weirdest music I'd ever heard." The man's singing was answered by the crying sound that his guitar made as the knife slid along its metal strings. The influence of rural song forms on the classically trained Handy would find its celebrated outlet in his published work.

Handy lived and worked in Clarksdale until 1909, when he moved to another musical hotspot: Memphis. There he published "Mr. Crump" in 1909. This political song for Memphis's mayor remained popular and was covered by Memphis musicians, including Frank Stokes, long after Crump left office. Handy sometimes employed untrained blues musicians in his orchestras, with such later notables as Gus Cannon and Furry Lewis passing through the ranks. In 1912, "Mr. Crump" was given new lyrics and published as "The Memphis Blues," firmly establishing Handy's name in the white-dominated music publishing industry. Joining forces with partner Harry Pace, Handy operated Pace & Handy Music Co. on Beale Avenue from 1913-1918, publishing many popular tunes including "St. Louis Blues" and "Yellow Dog Blues" in 1914, and "Beale Street Blues" in 1916. "St. Louis Blues" in particular had phenomenal sales success, garnering worldwide acclaim and entering the repertoire of blues diva Bessie Smith. Handy's Orchestra of Memphis recorded for Columbia in New York City the year after "Beale Street Blues" was published. Handy and his partner Harry Pace moved to New York City, center of the music publishing business, in 1918. During the 1920s, Handy's Orchestra recorded for Paramount and Okeh while the bandleader continued to write blues songs. None of Handy's 1920s compositions approached the popularity of his earlier work. The city of Memphis honored Handy in 1931, creating W.C. Handy Park on Beale Street. Self-anointed as the "Father of the Blues" in his 1941 autobiography, Handy was acknowledged during his lifetime for his contribution to American popular music. Today, the W.C. Handy Award is a prestigious prize reserved for blues musicians.

W.C. Handy died in 1958 in New York City.

Handy's Orchestra Of Memphis - Livery Stable Blues

William Christopher "W.C." Handy was born in Florence, Alabama, November 16, 1873, the son of former slaves. His first instrument was the coronet, and he advanced from lessons in a barbershop to studying classical music. While still a teenager Handy began teaching school but left for better paying work in a factory. At the age of twenty, he organized a quartet to play the 1893 Chicago World's Fair, a gathering that attracted other musical luminaries of the time, notably ragtime pianist Scott Joplin.

After the fair, Handy toured with various ensembles and taught music at Alabama A&M in Huntsville. He left teaching and joined Mahara's Minstrels in 1896 as a cornetist. Handy toured the country with the group, and quickly became their leader. In 1903, he moved to Clarksdale, Mississippi, to direct the Colored Knights of Pythias, an entourage that performed for both whites and blacks. During a performance for a white audience, a request was made to "play some of your own music." When the band resumed, the whites shouted that Handy was not honoring their request. During a break, three local black men with stringed instruments took the stage and played a primitive blues that brought an appreciative reaction from the crowd. The crowd's reaction caused the bandleader to reconsider the band's repertoire, noting the strong response that "primitive music" created. In 1903, while waiting for a train at a station in Tutwiler, Mississippi, Handy heard a black musician playing a guitar with a knife. The man was singing about going Where The Southern Crosses The Dog, and Handy recalled "it was the weirdest music I'd ever heard." The man's singing was answered by the crying sound that his guitar made as the knife slid along its metal strings. The influence of rural song forms on the classically trained Handy would find its celebrated outlet in his published work.

Handy lived and worked in Clarksdale until 1909, when he moved to another musical hotspot: Memphis. There he published "Mr. Crump" in 1909. This political song for Memphis's mayor remained popular and was covered by Memphis musicians, including Frank Stokes, long after Crump left office. Handy sometimes employed untrained blues musicians in his orchestras, with such later notables as Gus Cannon and Furry Lewis passing through the ranks. In 1912, "Mr. Crump" was given new lyrics and published as "The Memphis Blues," firmly establishing Handy's name in the white-dominated music publishing industry. Joining forces with partner Harry Pace, Handy operated Pace & Handy Music Co. on Beale Avenue from 1913-1918, publishing many popular tunes including "St. Louis Blues" and "Yellow Dog Blues" in 1914, and "Beale Street Blues" in 1916. "St. Louis Blues" in particular had phenomenal sales success, garnering worldwide acclaim and entering the repertoire of blues diva Bessie Smith. Handy's Orchestra of Memphis recorded for Columbia in New York City the year after "Beale Street Blues" was published. Handy and his partner Harry Pace moved to New York City, center of the music publishing business, in 1918. During the 1920s, Handy's Orchestra recorded for Paramount and Okeh while the bandleader continued to write blues songs. None of Handy's 1920s compositions approached the popularity of his earlier work. The city of Memphis honored Handy in 1931, creating W.C. Handy Park on Beale Street. Self-anointed as the "Father of the Blues" in his 1941 autobiography, Handy was acknowledged during his lifetime for his contribution to American popular music. Today, the W.C. Handy Award is a prestigious prize reserved for blues musicians.

W.C. Handy died in 1958 in New York City.