lunedì, agosto 11, 2008

Un Fisico Bestiale

Una serie di test condotti dalla Chichester University, in Inghilterra,
ha stabilito che i batteristi devono avere un fisico da veri atleti:
da questi test è emerso che in un'ora di concerto un batterista brucia fino a 600 calorie,
con un ritmo cardiaco medio di 150 battiti al minuto e picchi di 190 battiti !

21 commenti:

  1. minchia e' tornato tony

  2. Isaac Hayes invece se n'e' andato proprio.

  3. non era un batterista....

    A me non piaceva tantissimo, troppo soft, troppo blaxpoitation ma alcune cose non erano per nulla male.

  4. che non fosse un batterista e' risaputo (anche se ha inciso da polistrumentista parecchie cose,batterie comprese).
    a me invece piaceva un casino. grande uomo e grande artista.
    shaft e' fondamentale

  5. nel senso che non essendo un batterista non ha un fisico bestiale e muore presto....


  6. bentornato tony.

    ps. vergognati!!!!! la vacanza nei boschi (e il gutturnio???) ti ha fatto male ai neuroni... hayes -ha fatto- la soul music. ("punto" o "period" come dicono gli inglesi)


  7. sti cazzi ragazzi/e....
    Conosco bene "Hot buttered soul" , "Shaft" ed altro del nostro caro pelatone.

    MA, personalmente . preferisco Otis Redding, Nina Simone, James Brown, Sly & t FS, Gil Scott Heron, Temptations, Curtis Mayfield , Sam & DAve, Wilson Pickett etc etc a Isaac Hayes che reputo troppo "sofisticato"

    Mi sembra eccessivo "ha fatto la soul music"


  9. chi c'era dietro la STAX?!?!?!
    (e'il gutturnio)

  10. no, non ha fatto la soul music !!
    è un personaggio importante ma non rientra nei primi 10 !!!
    sarà tra l'11° e il 15° posto se va bene (quindi lontano anche dall'Intertoto, per non parlare dell'Uefa)

  11. sono contento che suonando voi batteristi bruciate tutte quelle calorie ma minchia che faccia che hai in quella foto

  12. oltre ad isaac hayes, se n'è andato anche al wilson, che aveva inciso la fenomenale "the snake"...
    Marco MODS Trieste

  13. L'importante è non bruciare anche i neuroni assieme alle calorie!
    Ma era un post di divulgazione scientifica o un'autocelebrazione/autotelevendita?

  14. Esclusivamente ed ovviamente un'autocelebrazione !!

  15. per "ha fatto la soul music" intendo, tanto per intenderci :)

    Hayes was finally graduated at age 21 from Manassas, Class of 1962. It was the year after the first releases began to trickle out of a new label called Stax Records, part of the Satellite Records company and Satellite Record Store that started back in '58, housed in the old Capitol Theatre on the corner of College & McLemore. Hayes had won seven college scholarships for vocal music that he chose not to pursue. Instead, he became adept enough at the piano to land a job with baritone saxophonist bandleader Floyd Newman at the Plantation Inn across the river in West Arkansas. Newman was also the staff baritone musician on Stax recording sessions and was up for a date himself with his own working group in late 1963: "Frog Stomp," the only solo single ever cut by Newman, was co-written by and features Hayes (on piano), the first major notch in his discography at Stax Records.

    "During the time that I was there," Hayes recalls of the session, " Jim Stewart, the proprietor of Stax looked at me and said, 'Look, Booker T is off in Indiana U., from Booker T & the MG's, and I need a keyboard player so you want the job?' 'Yeaaa!' I jumped at it." His first paid sessions were with Otis Redding in early 1964, and Hayes was soon a ubiquitous presence at Stax. Not long after, co-writer and producer David Porter suggested to Hayes that they collaborate as songwriters. After a few modest starts for Porter ("Can't See You When I Want To"), Carla Thomas "How Do You Quit [Someone You Love]"), and Sam & Dave ("I Take What I Want"), "everything just blew up big time," Hayes says.

    As writers (under the name 'Soul Children'), arrangers and producers, the Hayes-Porter duo became Stax's hottest commodity starting in 1966-67. Sam & Dave's "You Don't Know Like I Know," "Hold On! I'm Comin'," "Said I Wasn't Gonna Tell Nobody," "When Something Is Wrong With My Baby," "I Thank You," "Wrap It Up," and the R&B Grammy award-winning "Soul Man" were among some 200 Hayes-Porter compositions that became standards. For Carla Thomas there was "Let Me Be Good To You," "B-A-B-Y" and "Something Good (Is Going To Happen To You)." Johnnie Taylor scored with "I Had a Dream" and "I Got To Love Somebody's Baby." Mable John's one and only hit was Hayes-Porter's "Your Good Thing (Is About To End)." Presenting Isaac Hayes, his debut solo LP was recorded as a trio (with MG's bassist Duck Dunn and drummer Al Jackson) in the wee hours after an all-night Stax party. The intimate, sensual jazz-flavored jam session approach (including three 9-minute versions of standards) did not reach the charts, but served as a blueprint for future LPs.

    Hayes' work with Sam & Dave, Otis Redding, Booker T & the MG's, the Mar-Keys, the Bar-Kays, Rufus & Carla Thomas, and virtually the entire Stax roster created what was known as the Memphis Sound. It transformed popular music, was absorbed by everyone from Elvis Presley and Ray Charles to the Beatles and the Rolling Stones. History notes that, with the exception of Booker T & the MG's, Isaac Hayes worked on more Stax sessions and tracks than any other musician.

    On April 4, 1968, as Stax Records was finalizing its sale to Gulf & Western Corporation, the Rev. Dr. Martin Luther King Jr., was assassinated at the Lorraine Hotel in downtown Memphis. Hayes, who had marched for Civil Rights with King, was scheduled to meet with him that very day. "It affected me for a whole year," Hayes told Rob Bowman in Soulsville U.S.A.: The Story Of Stax Records. "I could not create properly. I was so bitter and so angry. I thought, What can I do? Well, I can't do a thing about it so let me become successful and powerful enough where I can have a voice to make a difference. So I went back to work and started writing again."

    Enterprise He emerged in the summer 1969 with the landmark Hot Buttered Soul, and the career of Isaac Hayes would never be the same again. The LP was uniquely composed of four lush, sensual arrangements, framed by the opening 12-minute version of "Walk On By" and the closing 18-minute take on "By the Time I Get To Phoenix." Both were edited into a double-A sided single, and both sides became top 40/R&B crossover hits. #1 on the Billboard R&B chart for 10 weeks, the LP stayed on the Pop chart for an amazing 81 weeks. It forced the music industry, for the first time, to conceive of Soul music as an album art form. In a new emerging age of Afro-centrism and Black Power, devoting the entire LP cover to Hayes' shaven head was a revolutionary statement.

    Hot Buttered Soul was issued on the new Stax subsidiary label Enterprise (yes, named for the "Star Trek" spaceship) for whom Hayes would record for the next five years, and deliver a record-setting seven #1 R&B albums - more #1's than any artist of the period. In fact, Hayes charted a phenomenal 20 albums on the R&B and Pop charts between 1969 and '80 - not a week went by in the early '70s without two Isaac Hayes albums on the charts, and sometimes three. There can be no overstating his impact on popular music, reflected in his first ballot vote into the Rock And Roll Hall Of Fame.

    A pair of albums in 1970 reprised the format of the tightly-arranged extended versions of original material and reworked standards - The Isaac Hayes Movement (7 weeks at #1, with "I Stand Accused") and ...To Be Continued (11 weeks at #1, with the original version of "Ike's Rap," a decade before Sugar Hill Gang's "Rapper's Delight"!) By now, the silky smooth romantic rap soliloquies had become a Hayes trademark.

    scusate il copia incolla. ciao f

  16. comment definitivo,flav!

  17. ok ok mi avete convinto...posso solo dire che era un po' coglione ad aderire a Scientology ?

  18. che tristezza farsi bucare la mente e il portafoglio da quella gente lì..


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