CONGRESSIONAL RECORD— Extensions of Remarks E1204 HON
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Song Artist 25 Or 6 to 4 Chicago 5 Years Time Noah and the Whale A
A B 1 Song Artist 2 25 or 6 to 4 Chicago 3 5 Years Time Noah and the Whale 4 A Horse with No Name America 5 Achy Breaky Heart Billy Ray Cyrus 6 Adelaide Old 97's 7 Adelaide 8 Africa Bamba Santana 9 Against the Wind Bob Seeger 10 Ain't to Proud to Beg The Temptations 11 All Along the W…. Dylan/ Hendrix 12 Back in Black ACDC 13 Bad Leroy Brown Jim Croce 14 Bad Moon Risin' CCR 15 Bad to the Bone George Thorogood 16 Bamboleo Gipsy Kings 17 Black Horse and… KT Tunstall 18 Born to be Wild Steelers Wheels 19 Brain Stew Green Day 20 Brown Eyed Girl Van Morrison 21 Chasing Cars Snow Patrol 22 Cheesburger in Para… Jimmy Buffett 23 Clocks Coldplay 24 Close to You JLS 25 Close to You 26 Come as you Are Nirvana 27 Dead Flowers Rolling Stones 28 Down on the Corner CCR 29 Drift Away Dobie Gray 30 Duende Gipsy Kings 31 Dust in the Wind Kansas 32 El Condor Pasa Simon and Garfunkle 33 Every Breath You Take Sting 34 Evil Ways Santana 35 Fire Bruce Springsteen Pointer Sis.. 36 Fire and Rain James Taylor A B 37 Firework Katy Perry 38 For What it's Worth Buffalo Springfield 39 Forgiveness Collective Soul 40 Free Bird Lynyrd Skynyrd 41 Free Fallin Tom Petty 42 Give me One Reason Tracy Chapman 43 Gloria Van Morrison 44 Good Riddance Green Day 45 Have You Ever Seen… CCR 46 Heaven Los Lonely Boys 47 Hey Joe Hendrix 48 Hey Ya! Outcast 49 Honkytonk Woman Rolling Stones 50 Hotel California Eagles 51 Hotel California 52 Hotel California Eagles 53 Hotel California 54 I Won't Back Down Tom Petty 55 I'll Be Missing You Puff Daddy 56 Iko Iko Dr. -
2020 May June Newsletter
MAY / JUNE NEWSLETTER CLUB COMMITTEE 2020 CONTENT President Karl Herman 2304946 President Report - 1 Secretary Clare Atkinson 2159441 Photos - 2 Treasurer Nicola Fleming 2304604 Club Notices - 3 Tuitions Cheryl Cross 0275120144 Jokes - 3-4 Pub Relations Wendy Butler 0273797227 Fundraising - 4 Hall Mgr James Phillipson 021929916 Demos - 5 Editor/Cleaner Jeanette Hope - Johnstone Birthdays - 5 0276233253 New Members - 5 Demo Co-Ord Izaak Sanders 0278943522 Member Profile - 6 Committee: Pauline Rodan, Brent Shirley & Evelyn Sooalo Rock n Roll Personalities History - 7-14 Sale and wanted - 15 THE PRESIDENTS BOOGIE WOOGIE Hi guys, it seems forever that I have seen you all in one way or another, 70 days to be exact!! Bit scary and I would say a number of you may have to go through beginner lessons again and also wear name tags lol. On the 9th of May the national association had their AGM with a number of clubs from throughout New Zealand that were involved. First time ever we had to run the meeting through zoom so talking to 40 odd people from around the country was quite weird but it worked. A number of remits were discussed and voted on with a collection of changes mostly good but a few I didn’t agree with but you all can see it all on the association website if you are interested in looking . Also senior and junior nationals were voted on where they should be hosted and that is also advertised on their website. Juniors next year will be in Porirua and Seniors will be in Wanganui. -
Howlin' Wolf, Muddy Waters, Bo Diddley
Howlin' Wolf The Super Super Blues Band mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Blues Album: The Super Super Blues Band Country: Europe Released: 1992 Style: Chicago Blues MP3 version RAR size: 1262 mb FLAC version RAR size: 1907 mb WMA version RAR size: 1900 mb Rating: 4.3 Votes: 300 Other Formats: DMF XM MMF WMA ASF RA DXD Tracklist Hide Credits Long Distance Call 1 9:15 Written-By – McKinley Morganfield Ooh Baby / Wrecking My Love Life 2 Written By – Ellas McDaniel / Clifton James-Kay McDanielWritten-By [Ooh Baby] – Ellas 6:34 McDanielWritten-By [Wrecking My Love Life] – Clifton James, Kay McDaniel Sweet Little Angel 3 6:38 Written-By – Robert McCollum Spoonful 4 4:13 Written-By – Willie Dixon Diddley Daddy 5 5:12 Written By – Ellas McDaniel-Harvey FuquaWritten-By – Ellas McDaniel, Harvey Fuqua The Red Rooster 6 7:25 Written-By – Willie Dixon Goin' Down Slow 7 4:49 Written-By – James B. Oden Companies, etc. Distributed By – BMG Credits Bass – Buddy Guy Drums – Clifton James Guitar – Hubert Sumlin Liner Notes [Original Lp Release] – Richard Meltzer Liner Notes [Reissue Note] – A.M.* Other [Cd Reissue Coordination] – Andy McKaie Other [Digitally Transferred By] – Robert Stroughton Piano – Otis Spann Vocals, Guitar – Bo Diddley, Muddy Waters Vocals, Harmonica, Acoustic Guitar – Howlin' Wolf Vocals, Tambourine – Cookie Vee Notes Recorded in Chicago, September, 1967 Originally released January 26, 1968 Digitally transferred from original masters MCA Studios, No. Hollywood, CA Made & printed in Germany Barcode and Other Identifiers -
Shoosh 800-900 Series Master Tracklist 800-977
SHOOSH CDs -- 800 and 900 Series www.opalnations.com CD # Track Title Artist Label / # Date 801 1 I need someone to stand by me Johnny Nash & Group ABC-Paramount 10212 1961 801 2 A thousand miles away Johnny Nash & Group ABC-Paramount 10212 1961 801 3 You don't own your love Nat Wright & Singers ABC-Paramount 10045 1959 801 4 Please come back Gary Warren & Group ABC-Paramount 9861 1957 801 5 Into each life some rain must fall Zilla & Jay ABC-Paramount 10558 1964 801 6 (I'm gonna) cry some time Hoagy Lands & Singers ABC-Paramount 10171 1961 801 7 Jealous love Bobby Lewis & Group ABC-Paramount 10592 1964 801 8 Nice guy Martha Jean Love & Group ABC-Paramount 10689 1965 801 9 Little by little Micki Marlo & Group ABC-Paramount 9762 1956 801 10 Why don't you fall in love Cozy Morley & Group ABC-Paramount 9811 1957 801 11 Forgive me, my love Sabby Lewis & the Vibra-Tones ABC-Paramount 9697 1956 801 12 Never love again Little Tommy & The Elgins ABC-Paramount 10358 1962 801 13 Confession of love Del-Vikings ABC-Paramount 10341 1962 801 14 My heart V-Eights ABC-Paramount 10629 1965 801 15 Uptown - Downtown Ronnie & The Hi-Lites ABC-Paramount 10685 1965 801 16 Bring back your heart Del-Vikings ABC-Paramount 10208 1961 801 17 Don't restrain me Joe Corvets ABC-Paramount 9891 1958 801 18 Traveler of love Ronnie Haig & Group ABC-Paramount 9912 1958 801 19 High school romance Ronnie & The Hi-Lites ABC-Paramount 10685 1965 801 20 I walk on Little Tommy & The Elgins ABC-Paramount 10358 1962 801 21 I found a girl Scott Stevens & The Cavaliers ABC-Paramount -
BO DIDDLEY's UNCONVENTIONAL 1950'S SOUND and ITS
BO DIDDLEY’S UNCONVENTIONAL 1950’s SOUND AND ITS ANTICIPATION OF HIP HOP OVERVIEW ESSENTIAL QUESTION How were Bo Diddley’s recordings an anomaly in relation to 1950s Pop music, and how is his rhythm-driven sound and self-presentation a precursor to Hip Hop style? OVERVIEW From his first appearance on the Billboard R&B chart in 1955 and continuing over his five- decade career, Bo Diddley has been celebrated for the rhythm-driven, percussive sound of his ensemble, at the center of which was Diddley’s guitar playing. If by the Rock era the guitar solo became a symbolic centerpiece in recordings and performances, Diddley’s emphasis was always on the rhythm guitar. His approach didn’t revolve around the single- and double-note leads that came to dominate the music. Instead, Bo Diddley pioneered a sound that involved every member of his combo playing with a percussive sensibility. Rhythm was emphasized over melody, with a vocal style that often approximated Rap set against that rhythmic backdrop. Earlier even than James Brown, Diddley inadvertently pointed to a Hip Hop future. His best-known rhythm guitar pattern (three strokes/rest/two strokes, or “shave and a haircut, two bits”) influenced many. The “Bo Diddley beat,” as it came to be known, appeared on records by Buddy Holly, the Rolling Stones, Bruce Springsteen, U2, rapper B.o.B., and many others. In Bo Diddley’s own songs, the “Bo Diddley beat” was often combined with remarkably simple chord changes, as can be heard on his self-titled debut single, “Bo Diddley.” Throughout that single-chord song, which went to No. -
Eric Clapton
ERIC CLAPTON BIOGRAFIA Eric Patrick Clapton nasceu em 30/03/1945 em Ripley, Inglaterra. Ganhou a sua primeira guitarra aos 13 anos e se interessou pelo Blues americano de artistas como Robert Johnson e Muddy Waters. Apelidado de Slowhand, é considerado um dos melhores guitarristas do mundo. O reconhecimento de Clapton só começou quando entrou no “Yardbirds”, banda inglesa de grande influência que teve o mérito de reunir três dos maiores guitarristas de todos os tempos em sua formação: Eric Clapton, Jeff Beck e Jimmy Page. Apesar do sucesso que o grupo fazia, Clapton não admitia abandonar o Blues e, em sua opinião, o Yardbirds estava seguindo uma direção muito pop. Sai do grupo em 1965, quando John Mayall o convida a juntar-se à sua banda, os “Blues Breakers”. Gravam o álbum “Blues Breakers with Eric Clapton”, mas o relacionamento com Mayall não era dos melhores e Clapton deixa o grupo pouco tempo depois. Em 1966, forma os “Cream” com o baixista Jack Bruce e o baterista Ginger Baker. Com a gravação de 4 álbuns (“Fresh Cream”, “Disraeli Gears”, “Wheels Of Fire” e “Goodbye”) e muitos shows em terras norte americanas, os Cream atingiram enorme sucesso e Eric Clapton já era tido como um dos melhores guitarristas da história. A banda separa-se no fim de 1968 devido ao distanciamento entre os membros. Neste mesmo ano, Clapton a convite de seu amigo George Harisson, toca na faixa “While My Guitar Gently Weeps” do White Album dos Beatles. Forma os “Blind Faith” em 1969 com Steve Winwood, Ginger Baker e Rick Grech, que durou por pouco tempo, lançando apenas um album. -
Before You Accuse Me Tab by Eric Clapton
Before You Accuse Me Tab by Eric Clapton, www.Ultimate-Guitar.Com #----------------------------------PLEASE NOTE---------------------------------# #This file is the author's own work and represents their interpretation of the # #song. You may only use this file for private study, scholarship, or research. # #------------------------------------------------------------------------------# Date: 23.04.2005 Tabbed by Peter Tuyp ([email protected]) Subject: Eric Clapton - Before you accuse me (unplugged) This is the part Eric Clapton plays, but maybe here and there some notes of Andy Fairweather Low sneeked in. Chords: E7 0xx434 E°7 0xx323 Am6/e 0xx212 E 022100 B7 021202 Em 022000 E5 02xxxx E6 04xxxx A5 x022xx A6 x04xxx A7 x020xx A#m/d# xx1321 Bm/e xx2432 Intro: E7 E°7 Am6/e |---3/4-4-4-4---4-----------4---4---3---3---3---2---2-------------------| |---2/3-3-3-3---3-----------3---3---2---2---2---1---1-------------------| |---3/4-----4-----------------------3---3-----------2---------0h1p0h1---| |-----------------------------------------------------------------------| |-----------------------------------------------------------------------| |-0-0---0-0-0-------0---0---0---0---0-----0---0-0-------0---0-----------| E B7 |-0-3-0-3-0---0---------0-----------------------------------------------| |---3-0-3-0-3-----------0-----0---0------0------------------------------| |---------------2---0h1--------------------2-2--------------------------| |---------------------2-------------------------------------------------| |---------------------------2-------------------------------------------| -
“Bo Diddley” and “I'm a Man” (1955)
“Bo Diddley” and “I’m a Man” (1955) Added to the National Registry: 2011 Essay by Ed Komara (guest post)* Bo Diddley While waiting in Bo Diddley’s house to conduct an interview for the February 12, 1987 issue of “Rolling Stone,” journalist Kurt Loder noticed a poster. “If You Think Rock and Roll Started With Elvis,” it proclaimed, “You Don’t Know Diddley.” This statement seems exaggerated, but upon listening to Diddley’s April 1955 debut 78 on Checker 814, “Bo Diddley” backed with “I’m A Man,” it becomes apt, perhaps even understated. Bo Diddley (1928-2008) described his own place in music history to Loder. “People wouldn’t even bother with no stuff like ‘Bo Diddley’ and ‘I’m A Man’ and stuff like that ten years earlier [circa 1945] or even a year earlier [1954]. Then Leonard and Phil Chess decided to take a chance, and suddenly a whole different scene, a different kind of music, came in. And that was the beginning of rock and roll.” The composer credit for Checker 814 reads “E. McDaniels,” and there begins the tale. Bo Diddley was born Ellas Otha Bates in McComb, Mississippi on December 30, 1928 to a teenage mother and her local boyfriend. He was raised, however, by his maternal first cousin, Gussie McDaniel, to whom he was taken to Chicago, and given her surname McDaniel. He grew up on the South Side of the city, where he learned violin, trombone and, at age 12, the guitar. Before long, he was playing for change on the local streets. -
Blues CD Reviews
In This Issue... April Blues Bash: Son Jack, Jr. KBA Photographer Suzanne Swanson Dawn Tyler Watson (IBC First Place Band) (Photo by Daniel Sheehan) (Photo by Paul Brown) (Photo by Paul Brown) Letter from the President 2 Remembering James Cotton 6 Membership Opportunities 14 Letter from the Editor 3 April Blues Bash Preview 11 B Sharp Coffee House 15 Officers and Directors 4 Memphis Memo 12 Extended CD Review 16 On the Cover 4 New Venue: Cask & Trotter 14 Hawkeye Herman in Spokane! 17 Letter from Washington Blues Society President Tony Frederickson Kevin Sutton & the Blue Monday Band opening American Indian Chief and several bidders really Hi Blues Fans, the show and getting the crowd in a fevered pitch went to work on this item and provided as much that never let up the whole evening. We had many excitement as the music we had already heard. The This past month the Washington Blues Society, special guests throughout the show and the Blue silent auction closed and almost every item had Lee Oskar Harmonicas, and Anacortes Brewery Monday Band invited Jimmy Fadden to sit in multiple bids and displayed the generosity of those (H2O & Rockfish) sponsored the first of what we with them which raised the bar even higher. After in attendance. Our last special guest of the evening hope will be an annual fundraising event for the a brief break for a set change and live auction, was Mark Dufresne who led the Lee Oskar band Washington Blues Society’s Musician Relief Fund Bobby Holland & the Breadline took the stage with a few songs in memory of James Cotton, who at the Historic Everett Theater. -
Learning Activities: Song #11 ~~ Don't-Be-Moody-Do-Yo
LEARNING ACTIVITIES: ©GayeAdegbalola SONG #11 ~~ DON'T-BE-MOODY-DO-YO'-DUTY SONG FLAVOR: BO DIDDLEY BEAT • Maracas are musical instruments that sound likearattle. Many Bo Diddleysongs featurethesoundof maracas. (Don't know Bo? See below.) You can makeyour own maracas from recycled materials. Take 2 plastic water bottles. Make sure they are dry. Fill about 1/4 full of dried beans. Seal the lidswith tape. Getto shakin'! • This song is full ofopposites: open&close, down & up,on&off,right&wrong, borrow & return. Can you thinkofother opposites? Try to come up withatleast 10. Now try to makethem "action" wordslikedropping down &picking up or opening and closing. • When we try to think of ideas, an easy waytodo so is by brainstorming. Itis a way to solve problems bycomingup withas many ideas as possible. Youare encouraged to come up withnew, creative ideas without judgingwhether they are goodor bad, realistic or not. For example, think of 10 uses for anempty plastic bottle. Of course,weknow it can be used for holdingliquids, butitcan also be cut so that it can be used as a shovel, or for making maracas, or as a noise maker. Thelonger we think,usually the more interesting our ideas become. Here'sagood brainstorming exercise: Comeup with50uses forapaper clip. •Inthis song,we are singing about how to respondto a problem. Sometimespeople behave inunacceptable ways. For example, sometimes it is hard to ask people topick up somethingthey've droppedonthe ground. Many newspapers have an advice column. In this column,people write in toask advice about how to handle certain situations. Someofthese are about personal relations. -
The Big List (My Friends Are Gonna Be) Strangers Merle Haggard 1948 Barry P
THE BIG LIST (MY FRIENDS ARE GONNA BE) STRANGERS MERLE HAGGARD 1948 BARRY P. FOLEY A LIFE THAT'S GOOD LENNIE & MAGGIE A PLACE TO FALL APART MERLE HAGGARD ABILENE GEORGE HAMILITON IV ABOVE AND BEYOND WYNN STEWART-RODNEY CROWELL ACT NATURALLY BUCK OWENS-THE BEATLES ADALIDA GEORGE STRAIT AGAINST THE WIND BOB SEGER-HIGHWAYMAN AIN’T NO GOD IN MEXICO WAYLON JENNINGS AIN'T LIVING LONG LIKE THIS WAYLON JENNINGS AIN'T NO SUNSHINE BILL WITHERS AIRPORT LOVE STORY BARRY P. FOLEY ALL ALONG THE WATCHTOWER BOB DYLAN-JIMI HENDRIX ALL I HAVE TO DO IS DREAM EVERLY BROTHERS ALL I HAVE TO OFFER IS ME CHARLIE PRIDE ALL MY EX'S LIVE IN TEXAS GEORGE STRAIT ALL MY LOVING THE BEATLES ALL OF ME WILLIE NELSON ALL SHOOK UP ELVIS PRESLEY ALL THE GOLD IN CALIFORNIA GATLIN BROTHERS ALL YOU DO IS BRING ME DOWN THE MAVERICKS ALMOST PERSUADED DAVID HOUSTON ALWAYS LATE LEFTY FRIZZELL-DWIGHT YOAKAM ALWAYS ON MY MIND ELVIS PRESLEY-WILLIE NELSON ALWAYS WANTING YOU MERLE HAGGARD AMANDA DON WILLIAMS-WAYLON JENNINGS AMARILLO BY MORNING TERRY STAFFORD-GEORGE STRAIT AMAZING GRACE TRADITIONAL AMERICAN PIE DON McLEAN AMERICAN TRILOGY MICKEY NEWBERRY-ELVIS PRESLEY AMIE PURE PRAIRIE LEAGUE ANGEL FLYING TOO CLOSE WILLIE NELSON ANGEL OF LYON TOM RUSSELL-STEVE YOUNG ANGEL OF MONTGOMERY JOHN PRINE-BONNIE RAITT-DAVE MATTHEWS ANGELS LIKE YOU DAN MCCOY ANNIE'S SONG JOHN DENVER ANOTHER SATURDAY NIGHT SAM COOKE-JIMMY BUFFET-CAT STEVENS ARE GOOD TIMES REALLY OVER MERLE HAGGARD ARE YOU SURE HANK DONE IT WAYLON JENNINGS AUSTIN BLAKE SHELTON BABY PLEASE DON'T GO MUDDY WATERS-BIG JOE WILLIAMS BABY PUT ME ON THE WAGON BARRY P. -
Rock Around the Clock”: Rock ’N’ Roll, 1954–1959
CHAPTER EIGHT: “ROCK AROUND THE CLOCK”: ROCK ’N’ ROLL, 1954–1959 Chapter Outline I. Rock ’n’ Roll, 1954–1959 A. The advent of rock ’n’ roll during the mid-1950s brought about enormous changes in American popular music. B. Styles previously considered on the margins of mainstream popular music were infiltrating the center and eventually came to dominate it. C. R&B and country music recordings were no longer geared toward a specialized market. 1. Began to be heard on mainstream pop radio 2. Could be purchased nationwide in music stores that catered to the general public D. Misconceptions 1. It is important to not mythologize or endorse common misconceptions about the emergence of rock ’n’ roll. a) Rock ’n’ roll was not a new style of music or even any single style of music. CHAPTER EIGHT: “ROCK AROUND THE CLOCK”: ROCK ’N’ ROLL, 1954–1959 b) The era of rock ’n’ roll was not the first time music was written specifically to appeal to young people. c) Rock ’n’ roll was not the first American music to bring black and white pop styles into close interaction. d) “Rock ’n’ roll” was a designation that was introduced as a commercial and marketing term for the purpose of identifying a new target for music products. II. The Rise of Rhythm & Blues and the Teenage Market A. The target audience for rock ’n’ roll during the 1950s consisted of baby boomers, Americans born after World War II. 1. Relatively young target audience 2. An audience that shared some specific important characteristics of group cultural identity: a) Recovering from the trauma of World War II—return to normalcy b) Growing up in the relative economic stability and prosperity of the 1950s yet under the threat of atomic war between the United States and the USSR CHAPTER EIGHT: “ROCK AROUND THE CLOCK”: ROCK ’N’ ROLL, 1954–1959 c) The first generation to grow up with television—a new outlet for instantaneous nationwide distribution of music d) The Cold War with the Soviet Union was in full swing and fostered the anticommunist movement in the United States.