Nme-1962-11-23-S-Ocr

Total Page:16

File Type:pdf, Size:1020Kb

Nme-1962-11-23-S-Ocr Paw lifwaleal Iffirvress-Tovemiwr Z3, Ir82 new LL WINNE pits of LVIS1 egistered at the G.P.O. as a Newspaper No. 828 EVERY FRIDAY PRICE ed. SENSATIONAL NEW DISC! November 23. 1961 SPEAK MUSICAL DON CHARLES IT'S MY WAY OF LOVING YOU SOFTLY 11521 45 rpm DICK KALLMAN DECCA on H.M.V. POP 1083 EXPRESS WORLD'S LARGEST CIRCULATION OF ANY MUSIC PAPER K.P.M., 21 DENMARK STREET, W.C.2 TEM 3856 -WEEKLY SALES EXCEED 200,000 (MEMBERS OF ABC The pen of Lionel Bart and the music of Russ Conway produce the MOST UNUSUAL RECORD OF THE YEAR RUSS CONWAY speaks and plays Always ouandme Vw ALONE AGAIN 45-DB4954 FOR CHRISTMAS PARTY TIME... RUSS CONWAY'S MAD PARTY SCX3458 (stereo LP) 33SX1464 (mono LP) RUSS CONWAY'S SING SONG MEDLEY 45-D84940 COLUMBIA RECORDS B.M.I. RECORDS LTD., E.M.I. HOUSE. 20 MANCHESTER SQUARE, LONDON. W.1 APOLLO MUSIC LTD., 164 SHAFTESBURY AVENUE. LONDON. W.C.S 7 NEW MUSICAL EXPRESS * Friday. November 23, 1962 WHAT WILL THE BIG PARTY DANCE BE THIS CHRISTMAS ? WHAT will be the big party dance craze this Christmas ? having sufficient energy to do the Limbo! Let's not forget that the twist isstill a powerful force in the land, and The answer is not nearly as straightforward as it was DEREK JOHNSON is likely to remain the centre of attraction at many parties.And the cha this time last year when the twist was coming into its own asks cha, out of favour for 18 months, could stage a mild comeback on the strength of Bobby Rydell's new disc, " The Cha-ChaCha."But so far as in a big way.It was obvious that the twist was bound toupon this year's Yuletide celebrations... the Madison. the new inspirations are concerned, the Madison looks all-powerful. dominate allfestive season gatherings-and, indeed, that is Of course, thanks to Little Eva, the Locomotion is still making its presence The Bossa-Nova ? A fascinating rhythm, and one which is bound to felt-but thisislittle more than a direct adaptation of the twist.Muchcommand much interest and excitement.However, today's teenager has precisely what happened. the same can be said for other novelties, such as the Mashed Potato, thenever shown a great deal of enthusiasm for complex Latin-American dancing But this year the issue is much more obscure, for during the pastWaddle and the Penguin ! (apart from the simple cha cha steps)-and I suspect that the Bossa-Nova few months a host of new and adapted dance steps and rhythms have The Hully-Gully and the Popese have both been given a recent boost.could be appreciated more for its listening, rather than its dancing value. sprung up.Nevertheless; despite the miscellany of new dance crazes,but I suspect that revellers are likely to twist to these rhythms rather than But letus now look indetailat these two new rhythms which have the chances are that only one is likely to make an appreciable impactinvent new steps-and I can't see too many people, after Christmas dinner,suddenly burst into the top table . the Madison and the Bossa-Nova. Joe Loss' Madison? Getz -Byrd Bossa-Nova? IF in no other respect, there is at least a parallel between the madison and the twist in THE very latest rhythmic vogue to hit the headlines is the bossa-nova which, strictly the fluctuation of their fortunes.When the twist first arrived on the scene, no one speaking, isn't new at all-it's simply our old friend the samba brought up to date. wanted to know-and Chubby Checker's success a year ago was virtually by way of a Whether or not this will catch on permanently in Britain is a moot point-I should think comeback.Similarly, the madison was firstintroduced two years ago, but failed to the odds are rather against it, if only because of our long-standing reluctance to indulge register-but now at last it seems to be coming into its own. in Latin-American dances. But there the similarity ends.For whereas the twist was a completely American. institution, Certainly it's allthe craze right now in Brazil, whereitoriginated.And, of course,it the madison flopped heavily in the States-and it was left to the Continent to boost it to its wouldn't be the first time that a wottld-wide dance craze had been touched off in South America. present status. But I reckon that the odds are on the bossa-nova making for entertaining listening rather than Joe Loss, the man whose recording of " Must Be Madison " has soared into the Top Twenty, developing as a serious challenger to the twist or madisont. tells me that he was featuring the original American madison two years ago, before he had even For thereits much more of oonstructive musical value in the bows -nova. than in any of considered the possibilities of the twist.But.. at the time, it fell flat on its face. today's other new dances.Otherwise, such modern jazz exponents as Stan Getz and Charlie " We forgot about it until this spring, When people starting returning from holiday's on the Byrd would not have become associated with it.And who would have thought that two such Continent," Joe continues." They told us that the madison was beginning to happen over way out musicians would ever have aspired to a hit parade placing ?Though whether their disc there.So we decided to keep a close eye on it, to await devellopments. would have happened this country, if hadn't previously registered in the States, is another Mid -summer aritiived. and it became evident that the madison was more than a mere passing matter phase.Joe went to see his recording manager at HMV, Wally Riley,i and together they decided Personally, I love the hossa-nova for its colour, its atmosphere and its Latin feel. Basically, that there was every chance of this new craze catehing on.There and then, they decided they it's a soft swinging samba rhythm with a heavily accentuated beat-in other words. samba would take the plunge and pioneer this latest dance sensation.. with a jazz flavour. it " ItoldJoethereweretwo years thatallthetopnamesin Of course,not everyone sees And it'sbecause ofits jazz con- things we must do," recalls Wally. dancing had met officially-and theyfromthispointofview. Decca,notationsthatartistssuch asElla " We had to get an original tune gave their unanimous decision thatfur instance, have just issued a disc ofFitzgeraldarealigningthemselves -and with thisinview,I com- theywouldsupportthemadison" MadisonTime "bytheTalmywith it.She's waxed a bossa-nova missioned one or two well-known wholeheartedly. So the new danceStone Band, with disc -jockey Alanvenslon of " Stardust," backed by the British writers to submit their own was launched-and today, ballroomsFreeman doing the calling. first song ever to be written compositions. Then, having throughout the country are featuring But Joe contends, that youngstersspecificallyinthisidiom," Slightly launched it, we had to go out and It extensively. prefer to appoint their own callers,-Out Of Tune "-a number which has sellit !" Tommy Kinsman, doyen of Lon-this gives them complete freedom toalso been covered by Mavis Rivers But when the time came far Joe's don's night dub life who has alsointroduce their own variations.And,and Freda Payne. recording session, none of the waxed his awn version (" Madison as hepointsout,thiswayit's And the pop possibilitiesofthis writersinquestionhadsubmitted Time "for Fontana') says :" Fre-possibleto dodie madison as a trend are shown by none other then anythingsatisfactory. So, at 24 quently these days we play atcouple, as a group, or in line. Paul Anka, who has waxed what hours notice, Wally sat down ariel- functions, Where nobody wants to do Make no mistake, the madisonmustsurelybehisbestdiscfor a.s he puts it-churned out "Must Be anything other than the madison all the complete opposite from thesome time, With a bossa-nova Madison." night."It seems thatitis taking atwist," declares Joe." The twistis styling of " Eso Beso." To ecitneidewiththisrecording, JOE LOSS little longer to establish itself in theenergetic andexhausting-but the The term " bosra-nova " means in Joe organised a conference Which was prosinces than in London, but I feelmadison is relaxing, and even sooth-fact, new beat. That,initself, is attended by allthe leading person-wasplaced before such stalwartthat Tommy's words are significant. ing. It'sthe difference between thesomething of a misnomer-for band- alitiesandassociation's'representa-dance authorities as Victor Silvester, This time last year,there was awaltz and the quickstep." leaderslikeEdmundo Ros and tivesinballroom dancing. LionelPeggy SpencerandMecca'sEricmere trickleof twistdiscs on the Joe also emphasises that theXavierCugatwill tell youthatCHARLIE BYRD and STAN GETZ Blair had formulated a danceMorley. market, and by the end of Januarymadison, Whichisgaining such a they'vebeenplayingitforyears. routine for this new rhythm-and this This was thefirst occasion in 25this had swollen to a torrent.Today,strong foothioild in Britain, isAnd Stan Kenton camemighty " Desafinado "I. the bossa-nova a few madison discs are in the shopsdefinitely not Americaninconcep- closetothisLatin-iazzapproach, wiN lead to a plentiful supply of -numbers like " Madison Step " bytion. " Their attempt failed hope-during his " Peanut Vendor " days new ideas. the Billy Nash Rock Band, and " Thelessly," he explains." Now they are15 years ago. Itisn'tlikethetwist,to which Madison's Back In Town " by Billytrying to get in on the craze which Joe Loss maintains that the bossa-standard material can be adapted, he Dawn.Will it emulate the twist byhas originated on thissideofthe nosuisn'ta dance-it'smerelya newmantuains-At_basilszer.ct flooding the market after Christmas?Atlantic." beat.
Recommended publications
  • S Y M P a T H Y F O R T H E D E V
    SYMPATHY FOR THE DEVIL WORDS MATT MUELLER J U N K I E . SATANIST. MURDERER. MUSIC PRODUCER JOE MEEK WAS N E V E R G O I N G TO BE THE KIND of boy you’d TAKE HOME TO MEET MOTHER. S O W H Y I S A N E W FIL M T R Y I N G TO RESURRECT HI S R A D D L E D REPUTATION? . MUSIC SPECIAL . MUSIC SPECIAL . ON FEBRUARY 3RD 1967, eight years to the day after Buddy Holly’s time) to get back together for the play’s West End opening night. “I AT FIRST HATED by the music establishment for his unorthodox sound out from other band members, Heinz did what he had to do. I’ve made death, music producer Joe Meek’s body was wheeled on a gurney think pretty much everyone who’s in the film who’s alive I’ve met or and style, Meek came to be grudgingly admired. He wasn’t interested my decisions from my research and I’ve stuck them in the film.” out of his rented London studio at 304 Holloway Road. The corpse spoken to at some point,” he says. in returning the favour. Phil Spector once called to tell him how much of Violet Shenton followed. Meek had beckoned his long-suffering In an industry rife with self-immolating screwballs, Meek’s sorry he loved his music – Meek shouted down the phone that Spector had HEAVILY INTO THE occult, Meek held séances to communicate with landlady (who used to bang on the ceiling with a broom and had no tale still has few competitors in the tragicomic stakes.
    [Show full text]
  • Loft History
    KEITH & BETTY MOTT OF CLAYGATE The story of a life time in the sport of Pigeon Racing Introduction I was born in Feltham, near Heathrow Airport in October 1950. I first met my wife, Betty, in late 1969 and this was through my friendship with her brother, Alfie, who raced pigeons and was a keen on ‘The Impalas’, the band I played drums in. Alfie North was a regular visitor to the bands Sunday night gig at the Swam PH in Kingston and with our mutual interest in pigeons and Rock music, we used to talk ‘shop’ during my mid- session break. From time to time he would bring his sister, Betty, to the ‘Swan’ gig and in the end it was mostly her and me talk about her main interest of those days, Speedway racing. I had known this wonderful girl named, Betty North, for a few months in early 1971 and I asked her out for our first date while at the big Gene Vincent gig at the Kingston Coronation Hall, when we were playing on the same bill. I knew she was there that night and I went out in to audience to find her. My life started on that night in 1971 and we got married in May 1972. We had two wonderful kids in Caroline and Mark, and in turn they have given us five brilliant grand children in Sasha, Katie, Ryan, Sophia and Connie. We are now great grandparents, with our Mason being born in August 2018! When we married in 1972 she said that it might only last about two years because of my ‘Rock ‘n Roll’ life style and all that entailed, but here we are 50 years later and still madly in love and still happily married! Then came the pigeons! At that time I thought to myself, well she is from a pigeon racing family, with her late father, Alf North senior, and her brother racing in partnership in the Surbiton FC for many years, so she knew what she was committing to by marring a pigeon fancier.
    [Show full text]
  • The Cambridge Companion to F. Scott Fitzgerald
    THE CAMBRIDGE COMPANION TO F. SCOTT FITZGERALD EDITED BY RUTH PRIGOZY Hofstra University PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge cb2 2ru,UK 40 West 20th Street, New York, ny 10011-4211,USA 10 Stamford Road, Oakleigh, vic 3166, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United Kingdom at the University Press, Cambridge Typeface Sabon 10/13 pt. System LATEX 2ε [TB] A catalogue record for this book is available from the British Library. Library of Congress Cataloguing in Publication Data The Cambridge companion to F. Scott Fitzgerald / edited by Ruth Prigozy. p. cm. – (Cambridge companions to literature) Includes bibliographical references and index. isbn 0 521 62447 9 – isbn 0 521 62474 6 (pbk.) 1. Fitzgerald, F. Scott (Francis Scott), 1896–1940 – Criticism and interpretation – Handbooks, manuals, etc. I. Prigozy, Ruth. II. Series. ps3511.I9 Z575 2002 8130.52 –dc21 [B] 2001025957 isbn 0 521 62447 9 hardback isbn 0 521 62474 6 paperback CONTENTS Notes on contributors page xi Preface xv List of abbreviations xvi Chronology xvii 1 Introduction: Scott, Zelda, and the culture of celebrity 1 ruth prigozy 2 F. Scott Fitzgerald, age consciousness, and the rise of American youth culture 28 kirk curnutt 3 The question of vocation in This Side of Paradise and The Beautiful and Damned 48 james l.
    [Show full text]
  • Editorial Introduction
    The Pennsylvania State University The Graduate School College of the Liberal Arts TEMPORARILY DEVOTEDLY YOURS: THE LETTERS OF GINEVRA KING TO F. SCOTT FITZGERALD A Dissertation in English by Robert Russell Bleil © 2008 Robert Russell Bleil Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2008 ii The dissertation of Robert Russell Bleil was reviewed and approved* by the following: James L. W. West III Edwin Erle Sparks Professor of English Dissertation Advisor Co-Chair of Committee Christopher Clausen Professor of English, emeritus Co-Chair of Committee Mark S. Morrisson Professor of English William L. Joyce Dorothy Foehr Huck Chair and Head of Special Collections, University Libraries and Professor of History Robert R. Edwards Edwin Erle Sparks Professor of English and Comparative Literature Director of Graduate Studies Department of English *Signatures are on file in the Graduate School iii ABSTRACT When Ginevra King met F. Scott Fitzgerald in St. Paul, Minnesota on January 4, 1915 there was instant chemistry between them. That night in her diary, Ginevra exclaimed, “Scott perfectly darling am dipped about.” For his part, Scott was equally smitten with Ginevra; although he was due back in Princeton immediately, Scott stayed over an extra day to spend more time with the brunette debutante from Chicago. Upon his return to Princeton, Scott immediately sent Ginevra a special delivery letter; according to the customs of the time, such a letter constituted Scott’s formal declaration that he was interested in pursuing a correspondence with Ginevra. A vivacious and fun- loving girl, Ginevra was no stranger to the importance of a “special delie” and the epistolary game was afoot.
    [Show full text]
  • Marilyn Monroe's Star Canon: Postwar American Culture and the Semiotics
    University of Kentucky UKnowledge Theses and Dissertations--English English 2016 MARILYN MONROE’S STAR CANON: POSTWAR AMERICAN CULTURE AND THE SEMIOTICS OF STARDOM Amanda Konkle University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.038 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Konkle, Amanda, "MARILYN MONROE’S STAR CANON: POSTWAR AMERICAN CULTURE AND THE SEMIOTICS OF STARDOM" (2016). Theses and Dissertations--English. 28. https://uknowledge.uky.edu/english_etds/28 This Doctoral Dissertation is brought to you for free and open access by the English at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--English by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Rock & Roll's War Against
    Rock & Roll’s War Against God Copyright 2015 by David W. Cloud ISBN 978-1-58318-183-6 Tis book is published for free distribution in eBook format. It is available in PDF, Mobi (for Kindle, etc.) and ePub formats from the Way of Life web site. See the Free eBook tab at www.wayofife.org. We do not allow distribution of our free books from other web sites. Published by Way of Life Literature PO Box 610368, Port Huron, MI 48061 866-295-4143 (toll free) - [email protected] www.wayofife.org Canada: Bethel Baptist Church 4212 Campbell St. N., London Ont. N6P 1A6 519-652-2619 Printed in Canada by Bethel Baptist Print Ministry ii Table of Contents Introduction ...........................................................................1 What Christians Should Know about Rock Music ...........5 What Rock Did For Me ......................................................38 Te History of Rock Music ................................................49 How Rock & Roll Took over Western Society ...............123 1950s Rock .........................................................................140 1960s Rock: Continuing the Revolution ........................193 Te Character of Rock & Roll .........................................347 Te Rhythm of Rock Music .............................................381 Rock Musicians as Mediums ...........................................387 Rock Music and Voodoo ..................................................394 Rock Music and Insanity ..................................................407 Rock Music and Suicide ...................................................429
    [Show full text]
  • Battle of Giants by SHEILAH GRAHAM Televised from New York
    Hollywood Report Battle of Giants By SHEILAH GRAHAM televised from New York. March 4. and she will do two more spectaculars for NBC later. (NANA).—Warners HOLLYWOOD are peeved Never heard of Lord Jimmy Nugent who. back at CBS-TV for beating them to the punch with in London from Hollywood, says he made a tele- a 90-minute video version of “The Helen Morgan vision series with starlet Vicky Benet, and pans Story," tentatively scheduled for April and Hollywood thus: “Hollywood Is phony. The starring Polly Bergen. Warners currently are place is full of phonies." And with his next shooting “The Life of Helen Morgan," with Ann breath he says, "Os course I'm going back." Blyth portraying the sultry singer. Same Andy Devine are earning thing happened with Bing Crosby’s “Damon Guy Madison and milk en- Runyon" at Universal-International. The won- as much from those Wild Bill Hickok salary the TV derfully warm life story comes to you first on dorsements as they do in for . Bill refused television. series. But announcer Edwards “The Way Pinky Lee, back from England, is preparing a vlllian role In to the Gold.” be- negative from the a filmed TV series here. Describing the terrible cause of possible action SIOO,OOO fogs in the Oxford area, “Everyone over there,” sponsors who pay him for those TV he was sure, “has incipient TB.“ commercials. John Carroll tells me he has a financial When George Goliel returns to Hollywood this interest in the TV series Jean Lafitte, starring month he will resume his TV series with two Jacques Bergerac.
    [Show full text]
  • 1. Dear Scott/Dear Max: the Fitzgerald-Perkins Correspondence, Eds
    NOTES INTRODUCTION F. SCOTT FITZGERALD, "THE CULTURAL WORLD," AND THE LURE OF THE AMERICAN SCENE 1. Dear Scott/Dear Max: The Fitzgerald-Perkins Correspondence, eds. John Kuehl and Jackson R. Bryer (New York: Scribner's, 1971),47. Hereafter cited as Dear Scott/Dear Max. Throughout this book, I preserve Fitzgerald's spelling, punctuation, and diacritical errors as preserved in the edited volumes of his correspondence. 2. F. Scott Fitzgerald, A Life in Letters, ed. Matthew J. Bruccoli (New York: Simon and Schuster, 1994),67. Hereafter cited as Life in Letters. 3. F. Scott Fitzgerald, F. Scott Fitzgerald on Authorship, eds. Matthew J. Bruccoli and Judith S. Baughman (Columbia: University of South Carolina Press, 1996),83. Hereafter cited as Fitzgerald on Authorship. 4. For a superb discussion of the voguish "difficulty" associated with the rise of modernist art, see Leonard Diepeveen, The Difficulties ofModernism (New York: Routledge, 2003),1-42. 5. There is a further irony that might be noted here: putting Joyce and Anderson on the same plane would soon be a good indicator of provin­ cialism. Fitzgerald could not have written this statement after his sojourn in France, and certainly not after encouraging his friend Ernest Hemingway's nasty parody, The Torrents of Spring (1926). Anderson may be one of the most notable casualties from the period of ambitious claimants, such as Fitzgerald, Hemingway, and William Faulkner, to a place within "the cultural world." 6. Pierre Bourdieu, The Rules of Art: Genesis and Structure of the Literary Field, tr. Susan Emanuel (Stanford: Stanford University Press, 1996), 142. 7. "The principle of differentiation is none other than the objective and subjective distance of enterprises of cultural production with respect to the market and to expressed or tacit demand, with producers' strate­ gies distributing themselves between two extremes that are never, in fact, attained-either total and cynical subordination to demand or absolute independence from the market and its exigencies" (ibid., 141-42).
    [Show full text]
  • The F. Scott Fitzgerald Society Newsletter
    The F. Scott Fitzgerald Society Newsletter Volume 23 DECEMBER 2013-2014 The Twelfth International F. Scott Fitzgerald Conference: Montgomery, AL Nov. 6-10, 2013 An antique car worthy of Jay Gatsby helped set Along the way, we enjoyed an afternoon at the the backdrop, the local St. James School band Montgomery planetarium, an aperitif at the local played a medley of jazz and Gatsby-inspired Aviator Bar, and a night of wholly un-1920s rock tunes, and the Southern drawl of Sally Carrol ‘n’ roll in which we were treated to the sizzlin’ Happer filled the air during a performance of guitar licks of Richard Martin and learned that Bill “The Ice Palace” at the opening reception for Blazek is the reincarnation of Hank Williams and the 12th International F. Scott Fitzgerald Society that Walter Raubicheck can channel Dion on com- Conference in Montgomery, Alabama. mand. That vivacious evening, hosted by the F. The closing reception, our “Belles and Jelly-Beans Scott and Zelda Fitzgerald Museum and the Ball,” was held on the Harriott II riverboat. There City of Montgomery, got things off to a great were costumes aplenty as men channeled their start, and the events and excitement contin- inner Gatsby and women their inner flapper. As ued over the next four days of Fitztrava- we cruised along the Alabama River, participants ganza/Zeldapalooza.” enjoyed not only the starry evening and the Montgomery skyline, but also a jazz-age cocktail Around 200 people attended all or some of the presentation by Philip Greene, author of To Have various events during the course of the confer- and Have Another: A Hemingway Cocktail Compan- ence, including academic and scholarly ses- ion.
    [Show full text]
  • Blackmore´S Night: Die Weiße Nacht Eines Gereiften Wild Boys
    Blackmore´s Night: Die weiße Nacht eines gereiften Wild Boys Ritchie Blackmore begeistert mit Gattin Candice Night und Band im Admiralspalast von Marc Hairapetian Preisfrage: Wer macht das scheinbar Unmögliche möglich und versammelt beinharte Hard-Rocker, intellektuelle Beatniks, radikale Tierschützer, fröhliche Schlagerfans und Freunde der Renaissance-Musik in einem Konzert, bei dem am Ende sogar alle zusammen singen? Antwort: Ritchie Blackmore, "the one and only". Dieser Zuruf der Ehrenbezeichnung eines völlig enthusiastischen Besuchers platzt in eine stillere Passage des Auftritts im fast ausverkauften Berliner Admiralspalast - und er trifft den berüchtigten Nagel auf den Kopf. Ritchie Blackmore, geboren am 14. September 1945 in Weston-super-Mare (North Somerset), ist wirklich ein Phänomen. Seit Anfang der 1960er gilt der walisisch-englische Lockenkopf als einer der weltbesten Gitarristen. Bereits mit 18 arbeitete er als Studio-Musiker für den legendären Produzenten Joe Meek (1929 - 1967). Für dessen Zögling, den deutschstämmigen Sänger und Ex-The Tornados-Bassisten Heinz Burt (eigentlich Heinz Georg Schwartz, 1942 - 2000), spielte er auf allen Platten (darunter die Filmsongs "Dreams Do Come True" und "Don´t You Understand" sowie Charterfolge wie "You Were There" und die Rockabilly-Nummer "Just like Eddie"). Blackmore tourte mit Heinz and the Wild Boys, setzte bei der Coverversion des Crickets-Songs "I am not a Bad Guy" als einer der ersten eine psychedelisch verzerrte Gibson-ES-335-Gitarre ein und trat mit der Instrumentalband The Outlaws in Beat-Kinofilmen wie "Live It Up" (1963) auf. 1968 wechselte er das Equipment (von nun an benutzte er eine Fender Stratocaster) und gründete die Hard-Rock-Formation Deep Purple, die mit zündenden Gitarrenriffs wie bei "Smoke on the Water" das Headbanging weltweit in Mode brachte.
    [Show full text]
  • London Underground Films Over a Century
    The Scala Underground film map, station to station Film Underground Station Year 28 Days Later Bank 2002 30 is a Dangerous Age, Cynthia Barking 1968 80 Million Women Want-? Woodford 1913 A Clockwork Orange Fulham Broadway 1971 A Hard Day's Night Goodge Street 1964 A Kind of English Bethnal Green 1986 A Lizard in a Woman's Skin Wood Green 1971 A Matter of Life and Death Ruislip Gardens 1946 A Place to Go Old Street 1963 Abominable Dr. Phibes, The Stanmore 1971 Absolute Beginners White City 1986 Afraid of the Dark West Brompton 1991 Alfie Bayswater 1966 Alien North Acton 1979 All Neat in Black Stockings East Putney 1968 An American Werewolf in London Tottenham Court Road 1981 And Now for Something Completely Different Totteridge & Whetstone 1971 Animal Farm Highbury & Islington 1954 Another Year Wanstead 2010 Arsenal Stadium Mystery, The Arsenal 1939 Attack the Block Brixton 2011 Babymother Harlesden 1998 Bargee, The Moor Park 1964 Bed-Sitting Room, The Leyton 1969 Bedazzled Gunnersbury 1967 Belle Rickmansworth 2013 Berberian Sound Studio Bromley-by-Bow 2012 Beware of Mr. Baker Neasden 2012 Black Narcissus South Ruislip 1947 Blacksmith Scene Kenton 1893 Blowup North Greenwich 1966 Blue Lamp, The Royal Oak 1950 Bob Marley and the Wailers: Live! At the Rainbow Finsbury Park 1977 Boy Friend, The Preston Road 1971 Brazil Holland Park 1985 Breakfast on Pluto Leicester Square 2005 Breaking Glass Barkingside 1980 Breaking of Bumbo, The St. James's Park 1970 Bride of Frankenstein Dagenham Heathway 1931 Bright Young Things Broadgate (closed) 2003
    [Show full text]
  • 2012 Catalogue
    Catalogue Rollercoaster Records was founded in RRC 2006 1976. Since our first release by the SINGLES Crickets in 1977 we have continued to Vinyl still lives at Rollercoaster! The HARDROCK release what we feel are important re- following RRC series 7” 45rpm singles are GUNTER issues together with releases featuring new all in picture sleeves, except where noted. JUKEBOX material, mostly from 50s and 60s artists. HELP ME With only a few releases every year we try RRC 2001 FIND MY to make each one worthwhile and BABY interesting with quality sound and THE informative packaging. If you have any CRICKETS comments, we’d like to hear from you. We have recently discovered a few forgotten CRUISE IN IT Our email address is copies of this great 45s in our warehouse - order [email protected]. now if you'd like one. And isn't that our very Or you can send letters the old-fashioned own design and artwork master, David Gibsone, way to: in the background next to the Rock-Ola on the cover - another reason to buy a copy! Rollercoaster Records Ltd, Rock House, Jukebox help me find my baby/Fiddle bop London Road, St Marys, Stroud, A 1979 single, recorded in Nashville with Gloucestershire, GL6 8PU England Sonny Curtis, JI Allison and Joe B Mauldin Barcode 5 012814 000065 Please note we do not have retail sales Cruise In It/Rock Around With Ollie Vee RRC 2007 premises and all enquiries should be made Barcode 5 012814 000010 to the above address by mail. The Crickets THE RRC 2004 CRICKETS If you telephone please note that our lines Forever in mind (PLAIN COVER) are open from 10am to 4.30pm Monday to BILL HALEY The weekend Friday only.
    [Show full text]