Bob Wills Presto Transcriptions
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Country Music Special 1979
COUNTRY MUSIC SPECIAL 1979 Songwriters: Unsung Heroes The Future Looks Bright For Are Enjoying New Popularity Country Music Labels, Artists (continued from nage C-22) (continued from page C-20) very little monetary reward for some time," Songwriters Hall of Fame. Founded in 1970, "Television seems to be the primary that area slowing down either. Cavender noted. "It takes tenacity, dedica- the list of Hall of Famers now boasts some market in any country in getting the big "I've always contended that if country tion, hard work and total concentration for a 74 names. Four more songwriters will be word out," Walker said. "Getting the music could be heard more, it would long, thankless period. But the writer does immortalized this week (Oct. 7) when the awards show on would allow us to expose become more popular," said Walker. "That receive something very important - self association announces this year's new country music to a large group of people was the theory behind trying to get more fulfillment. I don't think you can ask for members. who 'may have never heard country music radio stations to program country music. much more of a reward than fulfillment of A nomination list is comprised yearly by before." That was our first goal when the CMA was self." the NSAI board of directors, the past presi- Of the countries the CMA is hoping to organized. I think the figures speak for The NSAI was formed in 1967 to aid the dent of the association and a selected elec- develop, Walker said that Germany would themselves. -
Sunday.Sept.06.Overnight 261 Songs, 14.2 Hours, 1.62 GB
Page 1 of 8 ...sunday.Sept.06.Overnight 261 songs, 14.2 hours, 1.62 GB Name Time Album Artist 1 Go Now! 3:15 The Magnificent Moodies The Moody Blues 2 Waiting To Derail 3:55 Strangers Almanac Whiskeytown 3 Copperhead Road 4:34 Shut Up And Die Like An Aviator Steve Earle And The Dukes 4 Crazy To Love You 3:06 Old Ideas Leonard Cohen 5 Willow Bend-Julie 0:23 6 Donations 3 w/id Julie 0:24 KSZN Broadcast Clips Julie 7 Wheels Of Love 2:44 Anthology Emmylou Harris 8 California Sunset 2:57 Old Ways Neil Young 9 Soul of Man 4:30 Ready for Confetti Robert Earl Keen 10 Speaking In Tongues 4:34 Slant 6 Mind Greg Brown 11 Soap Making-Julie 0:23 12 Volunteer 1 w/ID- Tony 1:20 KSZN Broadcast Clips 13 Quittin' Time 3:55 State Of The Heart Mary Chapin Carpenter 14 Thank You 2:51 Bonnie Raitt Bonnie Raitt 15 Bootleg 3:02 Bayou Country (Limited Edition) Creedence Clearwater Revival 16 Man In Need 3:36 Shoot Out the Lights Richard & Linda Thompson 17 Semicolon Project-Frenaudo 0:44 18 Let Him Fly 3:08 Fly Dixie Chicks 19 A River for Him 5:07 Bluebird Emmylou Harris 20 Desperadoes Waiting For A Train 4:19 Other Voices, Too (A Trip Back To… Nanci Griffith 21 uw niles radio long w legal id 0:32 KSZN Broadcast Clips 22 Cold, Cold Heart 5:09 Timeless: Hank Williams Tribute Lucinda Williams 23 Why Do You Have to Torture Me? 2:37 Swingin' West Big Sandy & His Fly-Rite Boys 24 Madmax 3:32 Acoustic Swing David Grisman 25 Grand Canyon Trust-Terry 0:38 26 Volunteer 2 Julie 0:48 KSZN Broadcast Clips Julie 27 Happiness 3:55 So Long So Wrong Alison Krauss & Union Station -
Whiskey River (Take My Mind) I
whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams. -
ASLEEP at the WHEEL MERRY TEXAS CHRISTMAS Y’ALL! Friday, December 9, 2016, 7:30 Pm
ASLEEP AT THE WHEEL MERRY TEXAS CHRISTMAS Y’ALL! Friday, December 9, 2016, 7:30 pm Photo: Mike Shore OPENING SEASON 2016/2017 Great Artists. Great Audiences. Hancher Performances. Ray Benson lead guitar and vocals Dave Sanger drums Dave Miller bass and vocals Eddie Rivers steel and sax Katie Shore fiddle and vocals Connor Forsyth piano and vocals Jay Reynolds sax and clarinet Dennis Ludiker fiddle and mandolin Program will be announced from the stage Photo: Mike Shore 3 EVENT SPONSORS DEBORAH K. AND IAN E. BULLION DARYL K. AND NANCY J. GRANNER LAMONT D. AND VICKI J. OLSON SEASON SPONSOR WEST MUSIC 4 Photo: Bill Adams Give the gift of music this holiday season! westmusic.com Cedar Falls • Cedar Rapids • Coralville Decorah • Des Moines • Dubuque • Quad Cities ABOUT THE ARTISTS Ray Benson founded Asleep at the Wheel in Paw Paw, West Virginia 46 years ago. Now based in Austin, the band holds 10 Grammy awards, 20 studio albums and 20 singles on the Billboard country charts. The Grammy Award- winning Still The King: Celebrating the Music of Bob Wills and His Texas Playboys is the band’s most recent release (2015) and marks their third full- length Bob Wills tribute album. Featuring 22 acclaimed collaborations, the all-star line up includes legends such as Willie Nelson, Merle Haggard, and George Strait and newcomers like The Avett Brothers, Amos Lee, Old Crow Medicine Show, and many other fine talents. RAY BENSON At a towering 6’7”, the Philadelphia- born Ray Benson is considered a giant in the industry. However, it’s his contributions to music history, not his height, that have made him a dominant figure on the music scene since 1970. -
With Over Fteen Years of Touring to Date, the Quebe Sisters Have Delivered Their My Tracks When I Heard Them the Rst Time
“The Quebe Sisters simply stopped me in With over fteen years of touring to date, The Quebe Sisters have delivered their my tracks when I heard them the rst time. authentic triple ddle and three-part harmony sound to the concert halls and festivals Their blend of swing with a dash of of North America and Europe. contemporary color is unique in today’s music world. They project a cannonball of Grace, Sophia, and Hulda Quebe front an innovative Progressive Western Swing band stage presence and man can they play.” of archtop guitar, upright bass, ddles and sibling harmony. The Dallas-based ve-piece JIMMY BUFFETT presents a unique Americana blend of Western Swing, Jazz-in uenced Swing, Country, Texas-Style Fiddling, and Western music. “The Quebe Sisters are some of the most talented people I’ve ever met. They do “We differentiate our music as ‘Progressive Western Swing’ from simply ‘Western Swing’ Texas proud. They live in Texas, sound because we aren’t trying to sound just like Bob Wills,” Grace Quebe explains. like Texas and they’re prettier than Texas “Instead, we continue his vision, playing the style he pioneered in an authentic way by Bluebonnets, and sweeter than sugar cane. I love the Quebe Sisters”. incorporating new genres and songs, interpreting them using our own unique voice RICKY SKAGGS through Country instrumentation.” The band’s stripped-down acoustic instrumentation breathes new life into seasoned sounds “I rst heard the Quebe Sisters at the Philly Folk Festival, and was pretty blown away. I begged once found in Texas dance halls and honky-tonks. -
Killing Hope U.S
Killing Hope U.S. Military and CIA Interventions Since World War II – Part I William Blum Zed Books London Killing Hope was first published outside of North America by Zed Books Ltd, 7 Cynthia Street, London NI 9JF, UK in 2003. Second impression, 2004 Printed by Gopsons Papers Limited, Noida, India w w w.zedbooks .demon .co .uk Published in South Africa by Spearhead, a division of New Africa Books, PO Box 23408, Claremont 7735 This is a wholly revised, extended and updated edition of a book originally published under the title The CIA: A Forgotten History (Zed Books, 1986) Copyright © William Blum 2003 The right of William Blum to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. Cover design by Andrew Corbett ISBN 1 84277 368 2 hb ISBN 1 84277 369 0 pb Spearhead ISBN 0 86486 560 0 pb 2 Contents PART I Introduction 6 1. China 1945 to 1960s: Was Mao Tse-tung just paranoid? 20 2. Italy 1947-1948: Free elections, Hollywood style 27 3. Greece 1947 to early 1950s: From cradle of democracy to client state 33 4. The Philippines 1940s and 1950s: America's oldest colony 38 5. Korea 1945-1953: Was it all that it appeared to be? 44 6. Albania 1949-1953: The proper English spy 54 7. Eastern Europe 1948-1956: Operation Splinter Factor 56 8. Germany 1950s: Everything from juvenile delinquency to terrorism 60 9. Iran 1953: Making it safe for the King of Kings 63 10. -
Rush's Lyrical Rhetoric of Oppression and Liberation
Relevant Rhetoric, Vol. 7 (2016): Rush’s Lyrical Rhetoric of Oppression and Liberation Rush’s Lyrical Rhetoric of Oppression and Liberation: Extending “Freedom Songs” into the Progressive Rock Genre Brett A. Barnett Associate Professor of Communication Slippery Rock University of Pennsylvania [email protected] Relevant Rhetoric, Vol. 7 (2016): Rush’s Lyrical Rhetoric of Oppression and Liberation 2 On April 18, 2013, members of the Canadian power trio Rush were among the artists inducted into the Rock and Roll Hall of Fame, a well-deserved honor that was long overdue. Formed in August 1968, Rush would join artists like Pink Floyd and Yes in shaping the music movement that would come to be categorized as “progressive” rock, or “prog rock,” a rock music sub-genre that Rush. Photo credit: By Enrico Frangi (Uploaded by User:Jonasz) [Public domain], via Wikimedia Commons also developed in the late 1960s.1 As reflected in the music of Rush, progressive rock involves more advanced musical forms, including an expanded instrumental palette and increased com- plexity in terms of instrumentation, as well as more sophisticated lyrical themes ranging from unconventional subject matter to increased social commentary. After years playing on the Toronto music scene, Rush formed their own label, Moon Records, and shortly thereafter released their first album, Rush, in 1974.2 Rush’s self-titled debut album did not garner much attention until Cleveland’s WMMS (100.7 FM), widely regarded as one of the most influential rock radio stations in North America, -
Ilistung Spec:131
-FEBRUARY 28,1981 s Po, (tZtoo 4)0 1. .(1 C06/24,a402-(7/2,4 tE0 ic . ilistung SPeC:131.. SLEEPERS ND JEFFREYS, "96 TEARS" (prod. EMMYLOU HARRIS, -MISTER SAM' by Jeffreys-Clearmountain) (writ- (prod. by Ahern) (writer..f' er: Martinez) (ABKO, BMI) (3:06). (EdwinH.Morris&" The unforgettable organ riff intro ASCAP)(2:20).Putifr`!- forewarns of somethi-hg .special watch your speakers flo about to happen and Jeffreys' Emmylou's luscious voc vocal fever doesn't disappoint. .4 age to recreate the Ch marvelous update of the '67 hit full sound. Great for any to Epic 19-51008. WB 49684. RAY PARKER JR. & RAYDIO, "A WOMAN THE FOOLS, "RUNNING SCARED" (prod. GAHLANu NEEDS LOVE (JustLike You by Poncia) (writers: Orbison-Mel- ARTIST." From tha *Sr Do)" (prod. by Parker Jr.) (writer: son: (Acuff -Rose,BMI)(2:28). "Modern Lovers," it's obvious,k ParkerJr.)(Raydiola,ASCAP;, Roy Orbison is a hot commodity this prolific songwrte- and dramat (3:46). A velvet -smooth chorus these days and the Fools make a performerhasmeldedthetwo adorns Ray's loving tenor on the wise choice withthis cover of talents into his ideal album. Reggae classy hook, giviig st-ong multi - his'61 hit.Mike Girard's poplike"Christine" andchilling format appeal. From theJpco m- vocal captures the drama of the finales like "Mystery Kids" will cor- in g "Just Love" LP. A-ista 0592 original. EMI -America 8072. ner airplay. Epic JE 36983 (7.98) DAN HARTMAN, "HEAVEN IN YOUR HAWKS, "RIGHT AWAY" (prod. by Wer- PHIL COLLINS, "FACE VALUE." At ARMS" (prod. -
02. Mai 2008 KÜNSTLER VERSCHIEDENE TITEL Let Me Be Your Sidetrack the Influence
LIEFERBAR: AB 17. März 2008 VERÖFFENTLICHUNG: 02. Mai 2008 KÜNSTLER VERSCHIEDENE TITEL Let Me Be Your Sidetrack The Influence of Jimmie Rodgers LABEL Bear Family Records KATALOG # BCD 16863 PREIS-CODE FH EAN-CODE 4000127 168634 ISBN-CODE 978-3-89916-376-6 FORMAT 6-CD Mini Box mit 188-seitigem Booklet GENRE Country / Oldtime ANZAHL TITEL 159 SPIELDAUER ca. 475 INFORMATIONEN Legenden der Country Music gibt es viele, doch keine erwies sich als so einflußreich wie Jimmie Rodgers. In weniger als sechs Jahren (1927-1933) nahm Rodgers 110 Songs auf. 108 (!) dieser Titel wurden in der Folgezeit auch von anderen Künstlern eingespielt – es begann Ende der 20er Jahre und hält noch heute an. Diese Tradition des Coverns gilt für keinen anderen historischen Country-Star, auch nicht für Hank Williams. Rodgers' Bedeutung geht weit über sein Songschreiben hinaus. Der 'Singing Brakeman' ließ in seine Interpretationen auch ein bluesiges Element einfließen – etwas, das auf die Karrieren unzähliger anderer Country-Sänger nachhaltig einwirkte. Rodgers' Aufnahmen sind Beweis dafür, daß es musikalische Stilverschmelzungen auch schon vor Elvis Presley bzw. Sun Records gegeben hat. Zum Gedenken an Jimmie Rodgers' 75. Todestag dokumentiert Bear Family die Bedeutung dieses Künstlers in Form einer eindrucksvollen Zusammenstellung mit Cover-Versionen – von Country-Ikonen wie Gene Autry, Jimmie Davis, Hank Snow, Lefty Frizzell, Willie Nelson, Johnny Cash, Marty Robbins, Bill Monroe, Merle Haggard und Ernest Tubb bis hin zu Pop- und Rock-Größen wie Bob Dylan, Van Morrison, Rick Nelson, Jerry Lee Lewis und Jerry Garcia. Eine solche Compilation – mit 159 Titeln auf 6 CDs – gab es noch nie: Sie ehrt auf angemessene Weise das beeindruckende musikalische Erbe des Jimmie Rodgers. -
Jeff Hughson Collection
http://oac.cdlib.org/findaid/ark:/13030/c8gt5v7h No online items Guide to the Jeff Hughson collection Devon Miller Center for Sacramento History 551 Sequoia Pacific Blvd. Sacramento, California 95811-0229 Phone: (916) 808-7072 Fax: (916) 264-7582 Email: [email protected] URL: http://www.centerforsacramentohistory.org/ © 2013 Center for Sacramento History. All rights reserved. Guide to the Jeff Hughson MS 67 1 collection Guide to the Jeff Hughson collection Collection number: MS 67 Center for Sacramento History Sacramento, CA Processed by: Devon Miller Date Completed: 2020-02-26 Encoded by: Devon Miller © 2013 Center for Sacramento History. All rights reserved. Descriptive Summary Title: Jeff Hughson collection Dates: 1952-2009 Collection number: MS 67 Creator: Hughson, Jeff (1950 - ) Collection Size: 2 linear feet(2 boxes) Repository: Center for Sacramento History Sacramento, California 95811-0229 Abstract: Jeff Hughson was born in Sacramento in 1950 and graduated from Sacramento High School in 1968 and shortly thereafter joined the staff of KZAP, Sacramento’s first freeform rock music radio station. This collection contains biographical information on Jeff Hughson on the form of one DVD and several news articles, and periodicals, radio playlists, concert flyers, promotional material, sound recordings and VHS tapes collected by Hughson and documenting the musical scene in Sacramento from the 1960s to the 1980s. Physical location: 30:I:01 Languages: Languages represented in the collection: English Access Collection is open for research use. Publication Rights All requests to publish or quote from private manuscripts held by the Center for Sacramento History (CSH) must be submitted in writing to the archivist. -
“The Stories Behind the Songs”
“The Stories Behind The Songs” John Henderson The Stories Behind The Songs A compilation of “inside stories” behind classic country hits and the artists associated with them John Debbie & John By John Henderson (Arrangement by Debbie Henderson) A fascinating and entertaining look at the life and recording efforts of some of country music’s most talented singers and songwriters 1 Author’s Note My background in country music started before I even reached grade school. I was four years old when my uncle, Jack Henderson, the program director of 50,000 watt KCUL-AM in Fort Worth/Dallas, came to visit my family in 1959. He brought me around one hundred and fifty 45 RPM records from his station (duplicate copies that they no longer needed) and a small record player that played only 45s (not albums). I played those records day and night, completely wore them out. From that point, I wanted to be a disc jockey. But instead of going for the usual “comedic” approach most DJs took, I tried to be more informative by dropping in tidbits of a song’s background, something that always fascinated me. Originally with my “Classic Country Music Stories” site on Facebook (which is still going strong), and now with this book, I can tell the whole story, something that time restraints on radio wouldn’t allow. I began deejaying as a career at the age of sixteen in 1971, most notably at Nashville’s WENO-AM and WKDA- AM, Lakeland, Florida’s WPCV-FM (past winner of the “Radio Station of the Year” award from the Country Music Association), and Springfield, Missouri’s KTTS AM & FM and KWTO-AM, but with syndication and automation which overwhelmed radio some twenty-five years ago, my final DJ position ended in 1992. -
Austin's Progressive Country Music Scene and the Negotiation
Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978 Travis David Stimeling A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements of the Doctor of Philosophy in the Department of Music. Chapel Hill 2007 Approved by: Jocelyn R. Neal, Chair Jon W. Finson David García Mark Katz Philip Vandermeer © 2007 Travis David Stimeling ALL RIGHTS RESERVED ii ABSTRACT TRAVIS DAVID STIMELING: “Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978” (Under the direction of Jocelyn R. Neal) The progressive country music movement developed in Austin, Texas, during the early 1970s as a community of liberal young musicians and concertgoers with strong interests in Texan country music traditions and contemporary rock music converged on the city. Children of the Cold War and the post-World War II migration to the suburbs, these “cosmic cowboys” sought to get back in touch with their rural roots and to leave behind the socially conservative world their parents had created for them. As a hybrid of country music and rock, progressive country music both encapsulated the contradictions of the cosmic cowboys in song and helped to create a musical sanctuary in which these youths could articulate their difference from mainstream Texan culture. Examining the work of the movement’s singer-songwriters (Michael Murphey, Guy Clark, Gary P. Nunn), western swing revivalists (Asleep at the Wheel, Alvin Crow and the Pleasant Valley Boys), and commercial country singers (Willie Nelson, Waylon Jennings), this dissertation explores the proliferation of stock imagery, landscape painting, and Texan stereotypes in progressive country music and their role in the construction of Austin’s difference.