JONI MITCHELL (1943~) Roberta Joan "Joni" Mitchell, CC (Née
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Songs by Artist
Reil Entertainment Songs by Artist Karaoke by Artist Title Title &, Caitlin Will 12 Gauge Address In The Stars Dunkie Butt 10 Cc 12 Stones Donna We Are One Dreadlock Holiday 19 Somethin' Im Mandy Fly Me Mark Wills I'm Not In Love 1910 Fruitgum Co Rubber Bullets 1, 2, 3 Redlight Things We Do For Love Simon Says Wall Street Shuffle 1910 Fruitgum Co. 10 Years 1,2,3 Redlight Through The Iris Simon Says Wasteland 1975 10, 000 Maniacs Chocolate These Are The Days City 10,000 Maniacs Love Me Because Of The Night Sex... Because The Night Sex.... More Than This Sound These Are The Days The Sound Trouble Me UGH! 10,000 Maniacs Wvocal 1975, The Because The Night Chocolate 100 Proof Aged In Soul Sex Somebody's Been Sleeping The City 10Cc 1Barenaked Ladies Dreadlock Holiday Be My Yoko Ono I'm Not In Love Brian Wilson (2000 Version) We Do For Love Call And Answer 11) Enid OS Get In Line (Duet Version) 112 Get In Line (Solo Version) Come See Me It's All Been Done Cupid Jane Dance With Me Never Is Enough It's Over Now Old Apartment, The Only You One Week Peaches & Cream Shoe Box Peaches And Cream Straw Hat U Already Know What A Good Boy Song List Generator® Printed 11/21/2017 Page 1 of 486 Licensed to Greg Reil Reil Entertainment Songs by Artist Karaoke by Artist Title Title 1Barenaked Ladies 20 Fingers When I Fall Short Dick Man 1Beatles, The 2AM Club Come Together Not Your Boyfriend Day Tripper 2Pac Good Day Sunshine California Love (Original Version) Help! 3 Degrees I Saw Her Standing There When Will I See You Again Love Me Do Woman In Love Nowhere Man 3 Dog Night P.S. -
September 23, 2009 Quality of Life Echoes Offi Cials Aim to Fi Ll Students in Princeton Review Ranks, on South 40 Construction Plans
Sign up for newspaper Learn all the pros and cons of ‘The The Editorial Board tackles the recent e-mail editions online at Beatles: Rock Band’ video game in controversy surrounding “Pretending.’ STUDLIFE.COM CADENZA, PAGE 8 FORUM, PAGE 4 STUDENT LIFE the independent newspaper of Washington University in St. Louis since eighteen seventy-eight Vol. 131, No. 13 www.studlife.com Wednesday, September 23, 2009 Quality of life echoes Offi cials aim to fi ll students in Princeton Review ranks, on South 40 construction plans University admins say Re-I Chin Contributing Reporter of students, also noted the role of WU took 4th in students’ feedback in the Univer- sity’s high quality of life ranking. While many students have ‘Quality of Life,’ “[Continuing to seek input of come to accept the towering our students and other University cranes, mounds of clay and 10th in best food colleagues] is the way things are inconvenient fences as a norm Lauren Olens done here—it is part of our cam- of life on the South 40, the con- Assignment Editor pus culture,” Carroll said. struction setup still begs the A Campus Services Com- question: Why is there a hole in mittee within Student Union and the South 40? Washington University offi - headed by junior Greg Schweizer So far, most students only cials expressed satisfaction last focuses on improving non-aca- have vague ideas of what the week with the school’s high demic aspects of the University, ongoing construction project quality of life rankings in the such as dining, transport, security, might bring. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
Joni Mitchell Changes with the Times
September 21. ls-79 San Francisco'Foghorn Page 15 Greg Kihn Rocks From start to finish, the band displayed their line musicianship in all forms. Ihe rhythm section ol by Denise Sullivan "We could open with 'Sweet Larry Lynch on drums and Steve Hard driving rock and roll .lane' but we'd rather keep Wright on bass especially shone characterized the Greg Kihn building it up until thc end." stated during the encore numbers. Band's return to San Francisco Kihn flatly. "Wc do our own thing, When asked to comment on the Saturday night at thc Old Waldorf. regardless." new wave movement, Kihn's Though thc show kicked-off on a Kihn was relatively happy with immediate response was. "I like the laid-back note. Kihn and his band the night's first performance. From Pants," as he sat comfortably in managed to get the audience the onset the band rocked tightly. skintight black slacks. "I like jumping by thc final encores. "We weren't out of tune or modern girls and the modern During an informal backstage anything," smiled Kihn. world," he joked. interview between sets. Mr. Kihn The first set featured such well- Kihn is a firm supporter of new gave some of his views on rock and known numbers as "Secret bands and encourages his fans to revealed some of his thoughts on Meetings" and "Cold Hard Cash" support other local club acts like returning to thc Bay Area. from the "Next of Kihn" LP, as they backed himself in the early "We toured all thc big cities, but well as his covers of "Rendezvous days. -
Joni Mitchell," 1966-74
"All Pink and Clean and Full of Wonder?" Gendering "Joni Mitchell," 1966-74 Stuart Henderson Just before our love got lost you said: "I am as constant as a northern star." And I said: "Constantly in the darkness - Where 5 that at? Ifyou want me I'll be in the bar. " - "A Case of You," 1971 Joni Mitchell has always been difficult to categorize. A folksinger, a poet, a wife, a Canadian, a mother, a party girl, a rock star, a hermit, a jazz singer, a hippie, a painter: any or all of these descriptions could apply at any given time. Moreover, her musicianship, at once reminiscent of jazz, folk, blues, rock 'n' roll, even torch songs, has never lent itself to easy categorization. Through each successive stage of her career, her songwriting has grown ever more sincere and ever less predictable; she has, at every turn, re-figured her public persona, belied expectations, confounded those fans and critics who thought they knew who she was. And it has always been precisely here, between observers' expec- tations and her performance, that we find contested terrain. At stake in the late 1960s and early 1970s was the central concern for both the artist and her audience that "Joni Mitchell" was a stable identity which could be categorized, recognized, and understood. What came across as insta- bility to her fans and observers was born of Mitchell's view that the honest reflection of growth and transformation is the basic necessity of artistic expres- sion. As she explained in 1979: You have two options. -
The Shakin' Street Gazette, Volume 6
State University of New York College at Buffalo - Buffalo State College Digital Commons at Buffalo State Shakin Street Gazette, Student Music Magazine Buffalo State Archives: History of the College 1-1-1974 The Shakin' Street Gazette, Volume 6 The Shakin' Street Gazette Follow this and additional works at: https://digitalcommons.buffalostate.edu/shakinstreet Part of the History Commons Recommended Citation The Shakin' Street Gazette, "The Shakin' Street Gazette, Volume 6" (1974). Shakin Street Gazette, Student Music Magazine. 6. https://digitalcommons.buffalostate.edu/shakinstreet/6 This Book is brought to you for free and open access by the Buffalo State Archives: History of the College at Digital Commons at Buffalo State. It has been accepted for inclusion in Shakin Street Gazette, Student Music Magazine by an authorized administrator of Digital Commons at Buffalo State. For more information, please contact [email protected]. Volume one, Number six S+ree+ ' 0 But for the work I've taken on · Sto · star maker machine e popular song ut features double electric guitars (Jose Feliciano and Larry Carlton) that Joni's new on top of a light acoustic rhythm., released on the same day as the . "People's Parties!' follows, a . .- Dylan LP (coming in the balancing diversionary pasttimes (pe _s .first tour in seven years) parties) against the underlying s rt of ov wed. Not this repressed dispair in this song an 0 longing request for release in the fin oni, who ~ C:Ot! rts for "Same Situation" which ends: I ti4 first time g time, (including I called out to be released I o{e at Klein _ on February 11, Caught in my 'struggle for f cqurtesy of Festival East) has changed her _.:,achievement , I st~'le a little. -
Joni Mitchell, Blue (1971) Lyrics1
MUSC-21900 Freeze Joni Mitchell, Blue (1971) 1 Lyrics 1. All I Want And it undoes all the joy that could be I want to have fun, I want to shine like the sun I am on a lonely road and I am traveling I want to be the one that you want to see Traveling, traveling, traveling I want to knit you a sweater Looking for something, what can it be Want to write you a love letter Oh I hate you some, I hate you some, I love I want to make you feel better you some I want to make you feel free Oh I love you when I forget about me I want to make you feel free I want to be strong I want to laugh along I want to belong to the living 2. My Old Man Alive, alive, I want to get up and jive My old man I want to wreck my stockings in some juke He's a singer in the park box dive He's a walker in the rain Do you want - do you want - do you want to He's a dancer in the dark dance with me baby We don't need no piece of paper Do you want to take a chance From the city hall On maybe finding some sweet romance with Keeping us tied and true me baby My old man Well, come on Keeping away my blues All I really really want our love to do He's my sunshine in the morning Is to bring out the best in me and in you too He's my fireworks at the end of the day All I really really want our love to do He's the warmest chord I ever heard Is to bring out the best in me and in you Play that warm chord, play and stay baby I want to talk to you, I want to shampoo you We don't need no piece of paper I want to renew you again and again From the city hall Applause, applause - Life is our -
CVX904783 HUFFINGTON POST Feature
A Conversation with Nazareth's Dan McCafferty Mike Ragogna : Dan, let's talk about all things Nazareth and Rock 'N' Roll Telephone , your twenty-fourth album, right? That's a great achievement. How did you get here? Dan McCafferty : I think we're just a band that grew up and started to write our own songs and stuff. Coming from Scotland at that time, there were really only four or five big gigs that people used to come and visit. It's not like that now, of course. We started like any other band, doing Chuck Berry covers and Little Richard covers and on through the early eighties and then you start to write your own stuff. We played every place, eventually got signed and made records. It was a gradual buildup, but we always worked. Up until I got sick, we were doing two hundred, two sixty gigs a year. It was that work ethic thing, "It's got to be a proper job." Plus, you enjoy it so much! It just kind of flew by, Mike, I hope to tell you, but it was very interesting along the way. MR : Dan, how did you guys develop your sound? DM : I guess just paying attention to what was going on and what we really liked. I found out at a very early age that I preferred people like Little Richard to Cliff Richard, that kind of thing. Pop music was okay, it was better than listening to your dad's music, but it didn't have enough balls. As the years go on you develop, and when I discovered American music, Little Richard and Chuck Berry and then later in life people like Bob Seger and all the Detroit bands, it was just like, "Whoa, what's going on here?" Because at home, we had The Shadows and people like Billy Fury who were all kind of pseudo-American imitations of Elvis and stuff, where you guys were producing stuff that was frightening to us at the time and we wanted to go there. -
Joni Mitchell Complete So Far …
GUITAR SONGBOOK EDITION1 JONI MITCHELL Complete SO FAR … Joni wishes to express her thanks … to Joel Bernstein: “As my repertoire of tunings expanded it became necessary to have a whole fleet of guitars set up in tuning families. It was Joel’s job to tune my guitars, and to do this he needed to learn at least the first eight bars of every one of my songs—therefore preserving these tunings which may have otherwise been lost, for which I am grateful”; to Henry Diltz for capturing these special moments in time with his photos; to Jeffrey Pepper Rodgers for asking interview questions that actually pertained to the art and the music; to Dana D’Elia and all the staff at Alfred Music who participated in the making of this book; and special thanks to Aaron Stang for overseeing the production of this project with such care. Produced by Alfred Music P.O. Box 10003 Van Nuys, CA 91410-0003 alfred.com All rights reserved. Printed in USA. No part of this book shall be reproduced, arranged, adapted, recorded, publicly performed, stored in a retrieval system, or transmitted by any means without written permission from the publisher. In order to comply with copyright laws, please apply for such written permission and/or license by contacting the publisher at alfred.com/permissions. ISBN-10: 0-7390-9588-9 ISBN-13: 978-0-7390-9588-1 Transcriptions by Joel Bernstein, Daniel Libertino, and Andrew DuBrock Cover photo by Jack Robinson, The Jack Robinson Archive, LLC; robinsonarchive.com All inside photos by Henry Diltz; morrisonhotelgallery.com Contents Foreword ................................................................................................................................................................................ -
50S 60S 70S.Txt 10Cc - I'm NOT in LOVE 10Cc - the THINGS WE DO for LOVE
50s 60s 70s.txt 10cc - I'M NOT IN LOVE 10cc - THE THINGS WE DO FOR LOVE A TASTE OF HONEY - OOGIE OOGIE OOGIE ABBA - DANCING QUEEN ABBA - FERNANDO ABBA - I DO I DO I DO I DO I DO ABBA - KNOWING ME KNOWING YOU ABBA - MAMMA MIA ABBA - SOS ABBA - TAKE A CHANCE ON ME ABBA - THE NAME OF THE GAME ABBA - WATERLOU AC/DC - HIGHWAY TO HELL AC/DC - YOU SHOOK ME ALL NIGHT LONG ACE - HOW LONG ADRESSI BROTHERS - WE'VE GOT TO GET IT ON AGAIN AEROSMITH - BACK IN THE SADDLE AEROSMITH - COME TOGETHER AEROSMITH - DREAM ON AEROSMITH - LAST CHILD AEROSMITH - SWEET EMOTION AEROSMITH - WALK THIS WAY ALAN PARSONS PROJECT - DAMNED IF I DO ALAN PARSONS PROJECT - DOCTOR TAR AND PROFESSOR FETHER ALAN PARSONS PROJECT - I WOULDNT WANT TO BE LIKE YOU ALBERT, MORRIS - FEELINGS ALIVE N KICKIN - TIGHTER TIGHTER ALLMAN BROTHERS - JESSICA ALLMAN BROTHERS - MELISSA ALLMAN BROTHERS - MIDNIGHT RIDER ALLMAN BROTHERS - RAMBLIN MAN ALLMAN BROTHERS - REVIVAL ALLMAN BROTHERS - SOUTHBOUND ALLMAN BROTHERS - WHIPPING POST ALLMAN, GREG - MIDNIGHT RIDER ALPERT, HERB - RISE AMAZING RHYTHM ACES - THIRD RATE ROMANCE AMBROSIA - BIGGEST PART OF ME AMBROSIA - HOLDING ON TO YESTERDAY AMBROSIA - HOW MUCH I FEEL AMBROSIA - YOU'RE THE ONLY WOMAN AMERICA - DAISY JANE AMERICA - HORSE WITH NO NAME AMERICA - I NEED YOU AMERICA - LONELY PEOPLE AMERICA - SISTER GOLDEN HAIR AMERICA - TIN MAN Page 1 50s 60s 70s.txt AMERICA - VENTURA HIGHWAY ANDERSON, LYNN - ROSE GARDEN ANDREA TRUE CONNECTION - MORE MORE MORE ANKA, PAUL - HAVING MY BABY APOLLO 100 - JOY ARGENT - HOLD YOUR HEAD UP ATLANTA RHYTHM SECTION - DO IT OR DIE ATLANTA RHYTHM SECTION - IMAGINARY LOVER ATLANTA RHYTHM SECTION - SO IN TO YOU AVALON, FRANKIE - VENUS AVERAGE WHITE BD - CUT THE CAKE AVERAGE WHITE BD - PICK UP THE PIECES B.T. -
The Cyclic Nature of Joni Mitchell's Court and Spark Susan Neimoyer
Document generated on 09/29/2021 8:25 a.m. Intersections Canadian Journal of Music Revue canadienne de musique The Cyclic Nature of Joni Mitchell's Court and Spark Susan Neimoyer Volume 34, Number 1-2, 2014 Article abstract Current scholarship recognizes several of Joni Mitchell’s albums as being URI: https://id.erudit.org/iderudit/1030868ar cyclic, or based on a unifying concept. Court and Spark (1974), however, is not DOI: https://doi.org/10.7202/1030868ar numbered among them, despite Mitchell’s having described it as “a discourse on romantic love.” Following the inference that this album may have been See table of contents conceived as an extended, multi-movement work, this article examines both its textual and musical aspects, seeking unifying characteristics. The cyclic nature of the album is uncovered, showing it to be more unified from a musical Publisher(s) perspective than a textual one. This approach is the opposite of Mitchell’s perceived norm, suggesting her compositional process may have been more Canadian University Music Society / Société de musique des universités sophisticated than is currently thought. canadiennes ISSN 1911-0146 (print) 1918-512X (digital) Explore this journal Cite this article Neimoyer, S. (2014). The Cyclic Nature of Joni Mitchell's Court and Spark. Intersections, 34(1-2), 3–32. https://doi.org/10.7202/1030868ar Copyright © Canadian University Music Society / Société de musique des This document is protected by copyright law. Use of the services of Érudit universités canadiennes, 2015 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. -
The Silky Veils of Ardor” by Greg Herren from the Beat of Black Wings: Crime Fiction Inspired by the Songs of Joni Mitchell, Edited by Josh Pachter (Untreed Reads)
The First Two Pages: “The Silky Veils of Ardor” by Greg Herren From The Beat of Black Wings: Crime Fiction Inspired by the Songs of Joni Mitchell, edited by Josh Pachter (Untreed Reads) An Essay by Greg Herren Nothing causes me greater grief than trying to analyze my own work. Rereading it is often an agony, as I always think oh, I could have said that better or really, you thought that sentence was a good idea? Inevitably, I am my own harshest critic, and I always find something, anything, many things, I could have done better. But I am fairly pleased with how “The Silky Veils of Ardor,” written for Josh Pachter’s The Beat of Black Wings anthology, turned out, and the beginning, as the song says, is a very good place to start. The elevator doors opened. Cautiously, her heart thumping in her ears, she walked out of the elevator into the hotel lobby and paused, taking a quick look around. Over at the front desk the young woman in uniform was checking in a couple. They didn’t look familiar. But it had been so long since she’d seen any of them…could she recognize anyone? She didn’t notice she’d been holding her breath. She walked across the lobby to the hotel bar entrance. A reader board just outside said WELCOME BACK ROCKY BEACH HIGH CLASS OF 1992! The black background was faded, the white plastic letters yellowed with age. The urge to just head back to the elevators and punch at the up button until the doors opened, get upstairs and run back to her room and pack all the clothes back into her suitcases, the clothes she’d just carefully unpacked and put away neatly in drawers and hung in the closet, was strong.