Onregelmatig verschijnt hier een in spotify af te spelen muziekprogramma, steeds een uur muziek, thematisch samengesteld door uw e-jays Maarten en Igor. Vanaf juni 2014 nu ook met een thema dat je zelf moet ontvlechten uit de liedjes, de zogenoemde Crypto Hour’s, of Raad de Draad. De meeste crypto’s zijn overigens reeds opgelost door luisteraars.
RAAD DE DRAAD #4
Aflevering 4 van het Cryptohour, een muziekquiz gemaakt voor Café Koops. Een uur muziek, beluisterbaar via Spotify, waarin een thema is verstopt, bijvoorbeeld een triangelsolo in elke song of alle liedjes gaan over aardbevingen. Dit thema zit dan in iedere song van het uur muziek. Raad je het thema als eerste, dan win je iets drinkbaars bij Café Koops. Terwijl drievoudig winnaar Frank nog bezig is met de nieuwjaarscrypto hebben andere spelers nu de kans te scoren: wat is het verborgen thema van dit uur muziek deze keer? Weet je het niet? Geniet dan lekker van de muziek.
RAAD DE DRAAD #3
Aflevering 3 alweer van het Cryptohour, een muziekquiz van Café Koops. Een uur muziek, beluisterbaar via Spotify, waarin een thema is verstopt, bijvoorbeeld een trompetsolo in elke song of alle liedjes gaan over Johnny. Dit thema zit dan in iedere song van het uur muziek. Raad je het thema als eerste, dan win je iets drinkbaars bij Café Koops.
De tweede aflevering was binnen een paar uur geraden. Om het wat spannender te houden, het verzoek om de oplossing als aanvullende song met hetzelfde thema in de comments te zetten. Voorbeeld: denk je dat er in elke song een trompetsolo voorkomt, post dan een liedje waar ook een trompetsolo in voorkomt.
Dan nu de derde aflevering. Wat is het verborgen thema van dit uur muziek deze keer? Kijken helpt niet (of wel)! Heb je een idee? Zet je oplossing als crypto-song in de comments op Facebook. Weet je het niet? Geniet van de muziek en slaap er een nachtje over….
RAAD DE DRAAD # 2
De eerste opdracht van 28 juni is door al onze vier luisteraars niet geraden, ondanks verwoede pogingen hiertoe, hou vol Tom!
Een schijnbaar willekeurig boeket van liedjes herbergt een gemeenschappelijke deler. Ook deze keer weer. Aan jou om de draad te ontvlechten en ons de oplossing te sturen. Denk aan thema, woordgebruik, muzikale opbouw, zangstijl, nasmaak, toonsoort, opnametechniek, geboorteplaats van de hond van de drummer, of what so ever. Dit keer hebben we het niet erg moeilijk gemaakt. Succes!!http://open.spotify.com/user/1113320603/playlist/3f0VebgKGdgQbConfL5XeJ
RAAD DE DRAAD #1
Oftewel: raad dit maal zélf het thema van deze muzieklijst van een uur. Écht, de liedjes hebben met elkaar te maken, we hebben er een draad in verweven. Welk thema dit is, laten we aan jouw verbeelding, luistervaardigheid, muziekhistorisch inzicht, spitsvondigheid en muzikaliteit over. Degene die het eerste het juiste antwoord geeft, tja, die krijgt de prijs.
Om toch nog even lekker door te puzzelen deze week. Oplossing niet verklappen in de comments, maar eventueel alleen zeggen of je het weet of niet, of beter nog: post een cryptische link!
Dit thema is al vele weken in voorbereiding, maar ja, we werden ziek, zwak én misselijk. De temperatuur steeg maar door, het koude zweet brak uit, we gingen ijlbeelden zien, in de lappenmand. Alleen maar ellendig? Neen, want
Chicks were born to give you fever, when you kiss them, till you sizzle, what a lovely way to burn.
In de nacht van 4 op 5 mei brengt Loopgroep03 het bevrijdingsvuur vanuit Hotel de Wereld uit Wageningen naar Bevrijdingspop in Haarlem. Aankomst 5 mei 14:30 uur.
De soundtrack van de loop is hier te beluisteren, een allegaartje met vonken, smeulend en laaiend vuur, fakkels en vlammen. Beslist geen stille tocht.
Tell me lies, tell me sweet little lies. Tijdens verkiezingskoorts kun je ze horen: kleine leugens, grote leugens. Maar er zijn ook zoete leugens juist omdat je van iemand houdt. Je moet ook onthouden tegen welke ogen je welke leugen verteld hebt. De perfecte leugen dan? De Duitse Leider zei: vertel een zo grote leugen dat niemand kan geloven dat het niet waar is. De verkiezingskoorts ging voorbij als een zomergriepje. Over koorts volgende keer. Luister nu naar de muziek die je oren en andere organen betoveren. De vraag blijft: wil je de waarheid of juist iets heel erg moois?
Tijd voor een bootcamp. Biologen, geologen, ze liepen door drassige velden. Laarzen als bescherming. Maar laarzen zijn gemaakt om op te lopen, zingt Nancy, gecoacht door de schrijver van het lied, Lee Hazelwood, “as if she were “a sixteen-year-old girl who fucks truck drivers“. Laarzen en sex, een heilige combinatie, vrolijk in Texas, vijftig tinten grijs bij de Velvet Underground. Jim Morrisson trekt zijn laarzen aan voordat hij zijn vader doodt en zijn moeder onteert. Maar ook laarzen als teken van autoriteit, in grote aantallen stampend over de grens.
Tussen goed en fout, love and hate, dood en levend, Tennessee en Georgia, deze keer verkennen wij de grens. We zoeken de grens van de goede smaak, schudden onze elitaire veren af en genieten stiekem enorm van Madonna. Gaan we met de mainstream mee of blijven we in onze obscure comfort zone? Zie de mannen vallen weten zij dan niet dat alleen een vrouw kan balanceren op een hoge houten wand?
Steek met ons de grens over en luister!
Alles gaat mis, je hebt je baan verkloot, je vrouw loopt weg met de kinderen en je beste vriend, je huis is verdwenen door een aardbeving, je bent in elkaar geslagen voor een paar stuivers, kortom de wereld stort rondom je in maar je voelt je fantastisch. We vliegen met ons hoofd naar beneden en het uitzicht is prachtig.
Going down, goin’ down hard, slow, fast, to the river, feeling bad, maar eigenlijk best wel opgelucht. We dompelen onder in de rivier en waar we boven komen, Yonder, zullen, we wel zien. En nu luisteren.
DO THE HARLEM SHUFFLE, 1892 – 1986
In this first edition we stay close to home, in Harlem. Click HERE to hear music. We follow the rise and fall of rock ‘n’ roll from the earliest roots in the 19th century to 1986. From the frinches to the mainstream. Composed on january, 22st, 2014.
Thomas Million John Turpin (November 18, 1871 – August 13, 1922) was an African-American composer of ragtime music. Tom Turpin was born in Savannah, Georgia, a son of John L. Turpin and Lulu Waters Turpin. In his early twenties he opened a saloon in St. Louis, Missouri which became a meeting-place for local pianists and an incubation point for early folk ragtime, such as musician Joe Jordan. Turpin himself is credited with the first published rag by an African-American, his “Harlem Rag” of 1897. It was composed by 1892, a year before ragtime’s introduction to the world at the 1893 Worlds Fair. His other published rags include “Bowery Buck,” “Ragtime Nightmare,” “St. Louis Rag,” and “The Buffalo Rag”.
James P. Johnson (born James Price Johnson, also known as Jimmy Johnson; February 1, 1894 – November 17, 1955) was an American pianist and composer. A pioneer of the stride style of jazz piano, he was one of the most important pianists who bridged the ragtime and jazz eras, and, with Jelly Roll Morton, one of the two most important catalysts in the evolution of ragtime piano into jazz. In 1921 Johnson recorded his first side, “Harlem Strut,” followed by the classic stride numbers “Keep off the Grass” and “Carolina Shout” —a composition which, since its first appearance on piano roll, emerged as a test piece for aspiring ticklers, including young Edward Kennedy “Duke” Ellington.
Freddy Johnson (March 12, 1904 – March 24, 1961) was an American jazz pianist and singer who gained popularity in the 1930s playing mostly swing style. He began playing professionally as Florence Mills accompanist, and formed his own band in 1924. In 1925 he worked with Elmer Snowden, and in 1926 he worked with Billy Fowler. He briefly worked with Henri Saparo and Noble Sissle, and then he joined Sam Woodings band and traveled to Europe in June 1928. Wooding and Johnson parted ways in 1929, and Johnson returned to Paris to do solo work. While he was in Paris, he with Arthur Briggs and put together a band. The ragtime inspired “Harlem Bound” was cut in Paris in 1933. It was labelled as a “Fox-trot”, a popular dance throughout the 1930s, indeed originally danced to ragtime music.The
Harlem Hamfats was a Chicago jazz band formed in 1936. Initially, they mainly provided backup music for jazz and blues singers, such as Johnny Temple, Rosetta Howard, and Frankie Jaxon for Decca Records, but when their first record “Oh Red” became a hit, it secured them a Decca contract for fifty titles. With their riff based style of raunchy, danceable music, of which “When the sun goes down in Harlem” is a great example, they inspired later artists such as Louis Jordan and were an early influence on the advent of Rhythm and Blues and Rock & Roll.
Lil Hardin Armstrong (February 3, 1898 – August 27, 1971) was a jazz pianist, composer, arranger, singer, and bandleader, and the second wife of Louis Armstrong with whom she collaborated on many recordings in the 1920s. “Harlem on a Saturday night” is one of her many compositions, cut in 1938 with her band the Swing Orchestra which should make everyone an instant Lil Hardin Armstrong addict.
Joe Marsala (January 4, 1907 – March 4, 1978) was an Italian-American jazz clarinetist and songwriter, born and initially based in Chicago, Marsala moved to New York City in 1933 at the request of Wingy Manone. It was in NYC that Joe found his greatest success as the leader of the 1936 band that entered the Hickory House on 52nd Street. He remained there as leader for ten years. “Reunion in Harlem” is a Swing era slow song, with Joe playing the clarinet with immense feeling, backed by Pete Brown’s alto, Bill Coleman’s trumpet, Carmen Mastren and Gene Traxler.
Mandy Lee is a complete mystery, whose name might have been used for two different singers at the time of New York recording in the early 1920s. “Harlem Blues” appeared in 1926 on the Banner label and Oriole label (where she is named “JULIA SMITH (MANDY LEE)” and in 1927 on the Regal label where it is credited to W.C Handy. Other sources name Willard Robison for the lyrics.
Ethel Waters (October 31, 1896 – September 1, 1977) was an African-American blues, jazz and gospel vocalist and actress. She frequently performed jazz, big band, and pop music, on the Broadway stage and in concerts, although she began her career in the 1920s singing blues. Her best-known recordings include “Dinah,” “Stormy Weather,” “Taking a Chance on Love,” “Heat Wave,” “Supper Time,” “Am I Blue?” and “Cabin in the Sky,” as well as her version of the spiritual “His Eye Is on the Sparrow.” Waters was the second African American, after Hattie McDaniel, to be nominated for an Academy Award. She is also the first African American woman to be nominated for an Emmy Award, in 1962. “You’ve seen Harlem at its best” was recorded in 1934 and describes Harlem both from the high-brow and the low-brow side.
Hank Kilroy is a rather obscure East Coast 1930s blues musician. The only reference on the internet is “Of special interest [is] Hank Kilroy, if only because it’s amazing that a bluesman this good could remain totally unknown to most collectors for so long.” “Harlem Women” appeared in 1948 on the black owned Newark N.J. Coleman label – together with its B side his only record.
Louis Armstrong (August 4, 1901 – July 6, 1971), nicknamed Satchmo or Pops, was an American jazz trumpeter and singer from New Orleans, Louisiana. Coming to prominence in the 1920s as an “inventive” trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance. With his instantly recognizable gravelly voice, Armstrong was also an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes. He was also skilled at scat singing (vocalizing using sounds and syllables instead of actual lyrics). Renowned for his charismatic stage presence and voice almost as much as for his trumpet-playing, Armstrong’s influence extends well beyond jazz music, and by the end of his career in the 1960s, he was widely regarded as a profound influence on popular music in general. Armstrong was one of the first truly popular African-American entertainers to “cross over”, whose skin-color was secondary to his music in an America that was severely racially divided. He rarely publicly politicized his race, often to the dismay of fellow African-Americans, but took a well-publicized stand for desegregation during the Little Rock Crisis. His artistry and personality allowed him socially acceptable access to the upper echelons of American society that were highly restricted for a black man. “Christmas night in Harlem“, carateristic of all of the above, is a 1955 version with the orchestra of Benny Carter of a ragtime-ish 1930s tune.
Peter “Doctor” Clayton (April 19, 1898 – January 7, 1947) was an American blues singer and songwriter. Peter Joe Clayton was born in Georgia. He had four children and worked in a factory in St. Louis, where he started his career as a singer. Clayton recorded six sides for Bluebird Records in 1935, but only two were ever issued. Clayton’s entire family died in a house fire in 1937; following this Clayton became an alcoholic and began wearing outsized hats and glasses. Among the songs he wrote were “Cheating and Lying Blues”, frequently covered by other blues artists; “Pearl Harbor Blues”, written after the Pearl Harbor bombing of 1941; and “Moonshine Woman Blues”, which became a chart hit for B. B. King under the name “The Woman I Love” in 1968. He recorded in 1946, among other tunes “Angels in Harlem” for RCA Victor records. Clayton died of tuberculosis in January 1947, in Chicago, shortly after his second recording session for RCA Victor.
Bob & Earl were an American soul music singing duo in the 1960s, best known for writing and recording the original version of “Harlem Shuffle”.This was co-written by Bobby Relf and Earl Nelson, and featuring their friend Barry White on piano. Relf (Los Angeles, 1937) had a recording history that started when he assembled a doo-wop group called the Laurels while attending Fremont High School in the early 1950s. When released in 1963 on the Marc label, “Harlem Shuffle” became a modest hit on the R&B chart. Its vocal interplay directly influenced later duos such as Sam and Dave. However, its main success came as late as 1969, when it was re-released in the UK and became a Top Ten hit there. In interviews, Relf willingly admitted that “Harlem Shuffle” was based on Round Robin’s “Slauson Shuffletime”, about the Los Angeles avenue of the same name. “No one back East knew of Slauson but they knew Harlem. We changed Slauson to Harlem, making it a hit in LA and New York,” he said.
The Drifters are a long-lasting American doo-wop and R&B/soul vocal group. They were originally formed to serve as a backing group for Clyde McPhatter (of Billy Ward & the Dominoes) in 1953. The (original) Drifters managed to set musical trends and give the public 13 chart hits, most of which are legendary recordings today. Subsequent formations of the Drifters also managed to give the public 13 Billboard Hot 100 top 30 chart hits. “Up in the streets of Harlem” was recorded in 1966 with Johnny Moore in lead vocals and issued as a single, but didn’t chart. This soul operetta was written by Bert Berns and expresses the struggle for black identity in an urban setting.
The Viscounts were an American pop group from New Jersey, formed in 1958. They had one hit single, with Earle Hagen’s instrumental classic “Harlem Nocturne”, which peaked at #52 in the U.S. Billboard Hot 100 chart in 1959; it was re-released in 1966 and hit #39 the second time around. “Harlem Nocturne” is a jazz standard written by Earle Hagen and Dick Rogers in 1939.The song was adopted by bandleader Randy Brooks the next year as his theme song. “Harlem Nocturne” has been frequently recorded by e.g. . Johnny Otis, Glenn Miller, Bill Haley, Duke Ellington and The Ventures. The haunting version by The Viscounts has the distinction of being a tune released twice by the same band and rising high on the Billboard charts each time: first in 1959, when it peaked at #53, and again in 1966, peaking at #39 on the Billboard Hot 100 chart.
William Harrison “Bill” Withers, Jr. (born July 4, 1938) is an American singer-songwriter and musician who performed and recorded from 1970 until 1985. He recorded a number of major hits including “Lean on Me”, “Ain’t No Sunshine”, “Use Me”, “Just the Two of Us”, “Lovely Day”, and “Grandma’s Hands”. The song “Harlem” is written by Bill Withers and released on his 1971 album “Just as I am”.
Bob Dylan (/ˈdɪlən/; born Robert Allen Zimmerman, May 24, 1941) is an American musician, singer-songwriter, artist, and writer. He has been an influential figure in popular music and culture for more than five decades. Much of his most celebrated work dates from the 1960s, when he was an informal chronicler and a seemingly reluctant figurehead of social unrest. A number of Dylan’s early songs, such as “Blowin’ in the Wind” and “The Times They Are a-Changin’”, became anthems for the US civil rights and anti-war movements. Leaving behind his initial base in the culture of the folk music revival, Dylan’s six-minute single “Like a Rolling Stone” radically altered the parameters of popular music in 1965. “Spanish Harlem Incident” is a song written and performed by Bob Dylan and was released on his 1964 album, Another Side of Bob Dylan. The song has been praised for its multilayered, poetic dimensions. When Dylan himself has been questioned about the song’s subject matter he has confessed that he has no idea. However, author Paul Williams describes the song as a portrait of a gypsy girl that Dylan has seen only fleetingly but who has completely captivated him. Williams goes on to say that within the context of the song, Dylan is falling in love with not only the gypsy girl but also with the whole idea of gypsies and of himself in love with one.
The Byrds /ˈbɜrdz/ were an American rock band, formed in Los Angeles, California in 1964. The band underwent multiple line-up changes throughout its existence, with frontman Roger McGuinn, a.k.a. Jim McGuinn, remaining the sole consistent member, until the group disbanded in 1973. Although they only managed to attain the huge commercial success of contemporaries like The Beatles, The Beach Boys, and The Rolling Stones for a short period (1965–66), The Byrds are today considered by critics to be one of the most influential bands of the 1960s. Initially, they pioneered the musical genre of folk rock, melding the influence of The Beatles and other British Invasion bands with contemporary and traditional folk music. As the 1960s progressed, the band was also influential in originating psychedelic rock, raga rock, and country rock.
Graham Parker (born 18 November 1950, London, England) is a British rock singer and songwriter, who is best known as the lead singer of the popular British band Graham Parker & the Rumour. Despite moderate commercial success, Parker has been hailed by critics as one the most prominent musicians of his generation, with his wittily heated, often class-conscious lyrics and energy-fueled music preceding the arrival punk rock and new wave music. Many fellow musicians such as Bob Dylan, Bruce Springsteen and Frank Black have expressed admiration for his music. “The heat in Harlem” from his classic 1977 “Stick to me” is a lingering vision of black Harlem from a British new Rock point of view.
The Rolling Stones are an English rock band formed in London in 1962 who were in the vanguard of the British Invasion of bands that became popular in the US from 1964–65 and an integral part of the counterculture of the 1960s. The Rolling Stones were also instrumental in making blues a major part of rock and roll, and of changing the international focus of blues culture to the less sophisticated blues typified by Chess Records artists such as Muddy Waters, writer of “Rollin’ Stone”, the song after which the band is named. American music critic Robert Palmer said the Rolling Stones’ “remarkable endurance” stems from being “rooted in traditional verities, in rhythm-and-blues and soul music” while “more ephemeral pop fashions have come and gone”. “Harlem Shuffle” is an R&B song written and originally recorded by the duo Bob & Earl in 1963. The Rolling Stones’ cover version, with Bobby Womack on backing vocals, appeared on their 1986 album Dirty Work, and went to #5 on the Billboard Hot 100 chart, and #13 in the UK. Keith Richards had been looking for songs to possibly include on the album and had been working up songs with Ronnie Wood and Womack while waiting for Jagger to return to the studio in Paris after doing promo work on his solo album. To Richards’s surprise, Jagger liked the feel and cut the vocals quickly. It became the first cover song the Stones had released as an opening single off a new studio album since 1965.
SONGS ABOUT GAS
Luister HIER naar de geschiedenis van gas in het Groningse land. Van moeras naar gas, van vol gas naar gas terugnemen, shake rattle and roll. Van miljoenen jaren geleden tot deze week.
FROM 1.000.000 TO ZEROEen alternatief voor die akelige Top2000.