DOCSLIB.ORG

Year Date City Venue Part Primary Title Series Title Geddes # 1961 5/15 Minneapolis 1 of 2 Minnesota Party Tape 8 1961 5/15 Minn

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Year Date City Venue Part Primary Title Series Title Geddes # 1961 5/15 Minneapolis 1 of 2 Minnesota Party Tape 8 1961 5/15 Minn Year Date City Venue Part Primary Title Series Title Geddes # 1961 5/15 Minneapolis 1 of 2 Minnesota Party Tape 8 1961 5/15 Minneapolis 2 of 2 Minnesota Party Tape 9 1961 11/4 New York Carnegie Hall 1 of 1 Carnegie Chapter Hall 20 1961 12/22 1 of 1 The Kindest Cut 2736 1961 New York Gaslight Café 1 of 1 The Gaslight Tapes 3 1961 New York Gaslight Café 1 of 1 (2Leeds Demos/Gaslight Café 1 7 1961 New York Greenwich Villag1 of 2 The Mackenzie Tapes 10 1961 New York Greenwich Villag2 of 2 The Mackenzie Tapes 11 1961 1 of 1 Early 60's Revisited 13 1962 2/15 New York 1 of 1 Cynthia Gooding Radio S Folksingers Choice 12 1962 7/2 Montreal Finjan Club 1 of 1 Finjan Club in Montreal 6 1962 7/15 New York 1 of 2 Through a Bullet of Light Witmark & Son's Demo's 1 1962 7/15 New York 2 of 2 Through a Bullet of Light Witmark & Son's Demo's 2 1962 9/22 New York/San Carnegie Hall/Sa1 of 1 Carnegie Hall Hootenanny/San Jose Auditorium 5 1962 New York Gaslight Café 1 of 1 Gaslight Café II 4 1962 1 of 2 Witmark Demo Tapes 18 1962 2 of 2 Witmark Demo Tapes 19 1962 2 of 2 Broadside Sessions Finjan Club 30 1963 4/12 New York 1 of 1 Town Hall 17 1963 4/12 New York 1 of 1 Town Hall Compilation 22 1963 4/15 New York NY Town Hall/Ca1 of 1 New York Town Hall/Carnegie Hall 16 1963 5/10 London Royal Albert Hal 1 of 2 Royal Albert Hall 23 1963 5/10 London Royal Albert Hal 2 of 2 Royal Albert Hall 24 1963 7/25 Newport, RI Newport Folk Fe 1 of 1 Newport Folk Festival 1963 25 1963 10/26 New York Carnegie Hall 1 of 1 Carnegie Hall Compilation 15 1963 New York 1 of 1 Happy Traum Tape 16 1963 New York 1 of 1 Broadside Sessions 21 1963 1 of 1 The Freewheelin' Bob Dylan Outtakes 28 1964 2/1 Canada 1 of 1 CBC Quest TV Show 35 1964 2/25 1 of 1 The Steve Allen Show 46 1964 7/25 Newport, RI Newport Folk Fe 1 of 1 Newport Folk Festival 1964 25 1964 9/15 Philadelphia 1 of 2 Philadelphia Town Hall 33 1964 9/15 Philadelphia 2 of 2 Philadelphia Town Hall 34 1964 10/31 New York NY Philharmonic 1 of 2 New York Philharmonic Hall 31 1964 10/31 New York NY Philharmonic 2 of 2 New York Philharmonic Hall 32 1965 2/17 New York WABC TV 1 of 1 Les Crane Show Dylan by Others 38 1965 5/7 Manchester, EnManchester Free 1 of 2 Manchester Free Trade Hall 40 1965 5/7 Manchester, EnManchester Free 2 of 2 Manchester Free Trade Hall 41 1965 5/12 London 1 of 1 Highway 61 Revisited OuCBS Sales Convention M 37 1965 6/1 UK BBC 1 of 1 BBC Broadcast 36 1965 7/15 New York 1 of 1 Highway 61 Revisited OuNew York July 1965 37 1965 7/25 Newport, RI Newport Folk Fe 1 of 1 Newport Folk Festival 1965 25 1965 7/25 Newport, RI Newport Folk Fe 1 of 1 Newport Folk Festival 1965 55 1965 8/28 Forest Hills, NY 1 of 2 Forest Hills, NY 44 1965 8/28 Forest Hills, NY 2 of 2 Forest Hills, NY 45 1965 9/3 Los Angeles Hollywood Bowl 1 of 1 Electric Black Nite Crash 42 1965 12/3 San Francisco 1 of 1 KQED Press Conference 46 1965 12/4 Berkeley Berkeley Comm1 of 1 Berkeley Community Theater 43 1965 12/15 Hollywood Studi 1 of 1 Highway 61 Revisited OuHollywood Studios 37 1965 New York CBS Studios 1 of 1 Highway 61 Revisited OuCBS Studios New York 37 1965 1 of 1 Thin Wild Mercury Music 39 1965 1 of 1 Studio Outtakes 55 1965 1 of 1 Help! 2749 1966 4/13 Sydney 1 of 2 Guitars Kissing & the Contemporary Fix 49 1966 4/13 Sydney 2 of 2 Guitars Kissing & the Contemporary Fix 50 1966 4/13 Sydney 1 of 1 Sydney 1966 Electric Half 56 1966 4/13 Sydney Sydney Stadium1 of 8 Genuine Live 1966 Sydney 58 1966 4/13 Sydney Sydney Stadium2 of 8 Genuine Live 1966 Sydney 59 1966 4/15 Stockholm 1 of 1 Highway 61 Revisited OuSwedish Radio Interview 37 1966 4/19 Melbourne Festival Hall 1 of 1 Melbourne 1966 57 1966 4/20 Melbourne Festival Hall 3 of 8 Genuine Live 1966 Melbourne 60 1966 5/5 Dublin Adelphi 1 of 1 Dublin 1966 57 1966 5/5 Dublin Adelphi Theater 4 of 8 Genuine Live 1966 Dublin 61 1966 5/14 Liverpool Liverpool Odeon 1 of 1 Liverpool Odeon 25 1966 5/14 Liverpool Odeon Theater 5 of 8 Genuine Live 1966 Liverpool 62 1966 5/16 Sheffield, UK Gaumont Theatr6 of 8 Genuine Live 1966 Sheffield, UK 63 1966 5/17 Manchester, EnManchester Free 1 of 2 Manchester '66 51 1966 5/17 Manchester, EnManchester Free 2 of 2 Manchester '66 52 1966 5/17 Manchester, UKFree Trade Hall 7 of 8 Genuine Live 1966 Manchester, UK 64 1966 5/20 Edinburgh ABC Theater 1 of 2 Edinburgh 20/5/66 53 1966 5/20 Edinburgh ABC Theater 2 of 2 Edinburgh 20/5/66 54 1966 5/27 London 1 of 1 London '66 55 1966 5/27 London, UK Royal Albert Hal 8 of 8 Genuine Live 1966 London 65 1966 UK/Australia 1 of 2 Stick's Picks Volume 4 Acoustic 47 1966 UK/Australia 2 of 2 Stick's Picks Volume 4 Electric 48 1967 New York 1 of 5 The Genuine Basement TVol. 1 66 1967 New York 2 of 5 The Genuine Basement TVol. 2 67 1967 New York 3 of 5 The Genuine Basement TVol. 3 68 1967 New York 4 of 5 The Genuine Basement TVol. 4 69 1967 New York 5 of 5 The Genuine Basement TVol. 5 70 1967 1 of 2 A Tree with Roots Genuine Basement Tapes 2682 1967 2 of 2 A Tree with Roots Genuine Basement Tapes 2683 1967 1 of 2 A Tree with Roots Genuine Basement Tapes 2684 1967 2 of 2 A Tree with Roots Genuine Basement Tapes 2685 1967 1 of 1 highway 61 revisited rough mixes 2691 1968 Woodstock Bob's House 1 of 1 Bob Dylan & George Harrison 74 1969 2/17 Nashville 1 of 1 Dylan/Cash Sessions 71 1969 8/31 Woodside Bay, Isle of Wight Fes1 of 1 Isle of Wight Festival 72 1969 Nashville 1 of 1 Bob Dylan & Johnny Cash 73 1969 1 of 1 The coplete Cash & Ginsberg session 2698 1969 1 of 1 The Great White Wonder 2706 1969 1 of 1 The complete Cash & Ginsberg sessions 2735 1970 5/15 1 of 1 Possum Belly Overalls 2748 1970 10/5 1 of 1 David Bromberg Session 74 1971 8/1 New York Madison Square 1 of 1 Bob Dylan for Bangladesh 74 1973 1 of 1 A Fool Such as I with bonus tracks 2686 1973 1 of 1 "Lucky Luke" 2687 1973 1 of 1 The Final Theme Pat Garrett & Billy the Ki 2690 1974 1/3 Chicago Chicago Stadium1 of 2 Bob Dylan-Chicago 79 1974 1/3 Chicago Chicago Stadium2 of 2 Bob Dylan-Chicago 80 1974 1/4 Chicago Chicago Stadium1 of 1 Live in Chicago 1/4/74 123 1974 1/6 Philadelphia The Philadelphia 1 of 2 The Philadelphia Spectrum 81 1974 1/6 Philadelphia The Philadelphia 2 of 2 The Philadelphia Spectrum 82 1974 1/6 Philadelphia The Philadelphia 1 of 2 Bob Dylan & The Band Evening Show 86 1974 1/6 Philadelphia The Philadelphia 2 of 2 Bob Dylan & The Band Evening Show 87 1974 1/7 Philadelphia The Philadelphia 1 of 2 The Philadelphia Spectrum 90 1974 1/7 Philadelphia The Philadelphia 2 of 2 The Philadelphia Spectrum 91 1974 1/10 Toronto Maple Leaf Gard 1 of 2 Maple Leaf Gardens 92 1974 1/10 Toronto Maple Leaf Gard 2 of 2 Maple Leaf Gardens 93 1974 1/11 Montreal Forum de Montr 1 of 2 Bob Dylan & The Band-Montreal 94 1974 1/11 Montreal Forum de Montr 2 of 2 Bob Dylan & The Band-Montreal 95 1974 1/12 Montreal Forum de Montr 1 of 2 Bob Dylan & The Band-Montreal 105 1974 1/12 Montreal Forum de Montr 2 of 2 Bob Dylan & The Band-Montreal 106 1974 1/14 Boston Boston Garden 1 of 2 Love Songs for America Afternoon Show 107 1974 1/14 Boston Boston Garden 2 of 2 Love Songs for America Afternoon Show 108 1974 1/15 Largo, MD Capital Center 1 of 2 Into the Flood 109 1974 1/15 Largo, MD Capital Center 2 of 2 Into the Flood 110 1974 1/19 Hollywood, FL Hollywood Sport1 of 2 Ricks' Picks Vol. 2 Hollywood Sportatorium- 111 1974 1/19 Hollywood, FL Hollywood Sport2 of 2 Ricks' Picks Vol. 2 Hollywood Sportatorium- 112 1974 1/19 Hollywood, FL Hollywood Sport1 of 2 Ricks' Pciks Vol. 3 Hollywood Sportatorium- 113 1974 1/19 Hollywood, FL Hollywood Sport2 of 2 Ricks' Picks Vol. 3 Hollywood Sportatorium- 114 1974 1/21 Atlanta The Omni 1 of 2 Atlanta '74 115 1974 1/21 Atlanta The Omni 2 of 2 Atlanta '74 116 1974 1/25 Fort Worth Tarrant County C1 of 1 Bob Dylan & The Band-Fort Worth 96 1974 1/25 Fort Worth Tarrant County C1 of 2 Bob Dylan & The Band-Fort Worth 117 1974 1/25 Fort Worth Tarrant County C2 of 2 Bob Dylan & The Band-Fort Worth 118 1974 1/28 Nassau Nassau County C1 of 2 Nassau, NY 75 1974 1/28 Nassau Nassau County C2 of 2 Nassau, NY 76 1974 1/29 Uniondale, NY Nassau County C1 of 2 Bob Dylan & The Band-Uniondale, NY 119 1974 1/29 Uniondale, NY Nassau County C2 of 2 Bob Dylan & The Band-Uniondale, NY 120 1974 1/31 New York Madison Square 1 of 2 Madison Square Garden Afternoon Show 124 1974 1/31 New York Madison Square 2 of 2 Madison Square Garden Afternoon Show 125 1974 2/2 Ann Arbor Chrysler Arena 1 of 2 Chrysler Arena-University of Michigan 97 1974 2/2 Ann Arbor Chrysler Arena 2 of 2 Chrysler Arena-University of Michigan 98 1974 2/6 Denver Coliseum 1 of 2 Denver, Colorado Afternoon 88 1974 2/6 Denver Coliseum 2 of 2 Denver, Colorado Afternoon 89 1974 2/6 Denver Denver Coliseum1 of 2 Denver Coliseum Early Performance 99 1974 2/6 Denver Denver Coliseum2 of 2 Denver Coliseum Early Performance 100 1974 2/11 Oakland Alameda County 1 of 2 Alameda County ColiseumEvening 101 1974 2/11 Oakland Alameda County 2 of 2 Alameda County ColiseumEvening 102 1974 2/14 Los Angeles The Forum 1 of 2 Paint the Daytime Black Afternoon Show 103 1974 2/14 Los Angeles The Forum 2 of 2 Paint the Daytime Black Afternoon Show 104 1974 5/27 1 of 3 Phantoms of My Youth Bob Dylan's 1974 Tour w 83 1974 5/27 2 of 3 Phantoms of My Youth Bob Dylan's 1974 Tour w 84 1974 5/27 3 of 3 Phantoms of My Youth Bob Dylan's 1974 Tour w 85 1974 1 of 2 Sound the Battle Charge Acoustic '74 77 1974 2 of 2 Sound the Battle Charge Acoustic '74 78 1974 1 of 2 Various Live PerformanceU.S.
Load more

Recommended publications
  • Bob Dylan: the 30 Th Anniversary Concert Celebration” Returning to PBS on THIRTEEN’S Great Performances in March
    Press Contact: Harry Forbes, WNET 212-560-8027 or [email protected] Press materials; http://pressroom.pbs.org/ or http://www.thirteen.org/13pressroom/ Website: http://www.pbs.org/wnet/gperf/ Facebook: http://www.facebook.com/GreatPerformances Twitter: @GPerfPBS “Bob Dylan: The 30 th Anniversary Concert Celebration” Returning to PBS on THIRTEEN’s Great Performances in March A veritable Who’s Who of the music scene includes Eric Clapton, Stevie Wonder, Neil Young, Kris Kristofferson, Tom Petty, Tracy Chapman, George Harrison and others Great Performances presents a special encore of highlights from 1992’s star-studded concert tribute to the American pop music icon at New York City’s Madison Square Garden in Bob Dylan: The 30 th Anniversary Concert Celebration in March on PBS (check local listings). (In New York, THIRTEEN will air the concert on Friday, March 7 at 9 p.m.) Selling out 18,200 seats in a frantic, record-breaking 70 minutes, the concert gathered an amazing Who’s Who of performers to celebrate the 30th anniversary of the enigmatic singer- songwriter’s groundbreaking debut album from 1962, Bob Dylan . Taking viewers from front row center to back stage, the special captures all the excitement of this historic, once-in-a-lifetime concert as many of the greatest names in popular music—including The Band , Mary Chapin Carpenter , Roseanne Cash , Eric Clapton , Shawn Colvin , George Harrison , Richie Havens , Roger McGuinn , John Mellencamp , Tom Petty , Stevie Wonder , Eddie Vedder , Ron Wood , Neil Young , and more—pay homage to Dylan and the songs that made him a legend.
    [Show full text]
  • Reeperbahn Festival Conference MAG / SEPT 2017
    CONFERENCE 20 – 23 SEPT 2017 MAG Branded PartnershipsBranded Algorithms and on Hackney Camille Licensing and Sync Time for Diversity for Time Equality and Vanessa Reed on Keychange – Photo: Bonaparte © Musik Bewegt / Henning Heide Henning / Bewegt Musik © Bonaparte Photo: Raise Your Voice Voice Raise Your year´s This Conference Focus Music on and Politics mobile apps for your festival proudly presents the official app Available on the App Store and Google Play Meet us in Hamburg in September! Contact Scandinavia - Esben Christensen Contact GAS - Sarah Schwaab [email protected] [email protected] _ INDEX EDITORIAL 4 mobile apps for your festival RAISE YOUR VOICE The International Music World Is Turning Up 7 Its Political Volume SHIRLEY MANSON Early Days In Madison 15 DAVE ALLEN proudly presents Streaming and Music Culture 21 LIVE FOR (RE)SALE A Sort of Darknet for Tickets 25 VANESSA REED Closing the Gender Gap 31 TERRY MCBRIDE Understanding the Value of Music and 36 How to Effectively Monetize It UNSIGNED VS SIGNED Do Artists Benefit from Blockchain? 39 CAMILLE HACKNEY On Music, Brands, Data and Storytelling 45 MUSIC IN IRAN A Personal Experience 49 HARTWIG MASUCH 10 Songs that Helped Create the New BMG 55 PROGRAMME REGISTER SESSIONS 59 SHOWCASES 65 the AWARDS 68 official app MEETINGS 68 Available on the App Store and Google Play NETWORKING 69 IMPRINT 76 PARTNERS 78 Meet us in Hamburg in September! Coverphoto: Camille Hackney, speaker at „Sync Faster – Sync Different and board member of ANCHOR 2017. © Grayson Dansic Contact Scandinavia - Esben Christensen Contact GAS - Sarah Schwaab [email protected] [email protected] 3 _ EDITORIAL DEAR CONFERENCE ATTENDEES, DEAR FRIENDS, we‘re delighted you have made it back to Hamburg once again this year for what is now the 12th edition of the Reeperbahn Festival.
    [Show full text]
  • Music for the People: the Folk Music Revival
    MUSIC FOR THE PEOPLE: THE FOLK MUSIC REVIVAL AND AMERICAN IDENTITY, 1930-1970 By Rachel Clare Donaldson Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in History May, 2011 Nashville, Tennessee Approved Professor Gary Gerstle Professor Sarah Igo Professor David Carlton Professor Larry Isaac Professor Ronald D. Cohen Copyright© 2011 by Rachel Clare Donaldson All Rights Reserved For Mary, Laura, Gertrude, Elizabeth And Domenica ACKNOWLEDGEMENTS I would not have been able to complete this dissertation had not been for the support of many people. Historians David Carlton, Thomas Schwartz, William Caferro, and Yoshikuni Igarashi have helped me to grow academically since my first year of graduate school. From the beginning of my research through the final edits, Katherine Crawford and Sarah Igo have provided constant intellectual and professional support. Gary Gerstle has guided every stage of this project; the time and effort he devoted to reading and editing numerous drafts and his encouragement has made the project what it is today. Through his work and friendship, Ronald Cohen has been an inspiration. The intellectual and emotional help that he provided over dinners, phone calls, and email exchanges have been invaluable. I greatly appreciate Larry Isaac and Holly McCammon for their help with the sociological work in this project. I also thank Jane Anderson, Brenda Hummel, and Heidi Welch for all their help and patience over the years. I thank the staffs at the Smithsonian Center for Folklife and Cultural Heritage, the Kentucky Library and Museum, the Archives at the University of Indiana, and the American Folklife Center at the Library of Congress (particularly Todd Harvey) for their research assistance.
    [Show full text]
  • Bob Dylan Performs “It's Alright, Ma (I'm Only Bleeding),” 1964–2009
    Volume 19, Number 4, December 2013 Copyright © 2013 Society for Music Theory A Foreign Sound to Your Ear: Bob Dylan Performs “It’s Alright, Ma (I’m Only Bleeding),” 1964–2009 * Steven Rings NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.13.19.4/mto.13.19.4.rings.php KEYWORDS: Bob Dylan, performance, analysis, genre, improvisation, voice, schema, code ABSTRACT: This article presents a “longitudinal” study of Bob Dylan’s performances of the song “It’s Alright, Ma (I’m Only Bleeding)” over a 45-year period, from 1964 until 2009. The song makes for a vivid case study in Dylanesque reinvention: over nearly 800 performances, Dylan has played it solo and with a band (acoustic and electric); in five different keys; in diverse meters and tempos; and in arrangements that index a dizzying array of genres (folk, blues, country, rockabilly, soul, arena rock, etc.). This is to say nothing of the countless performative inflections in each evening’s rendering, especially in Dylan’s singing, which varies widely as regards phrasing, rhythm, pitch, articulation, and timbre. How can music theorists engage analytically with such a moving target, and what insights into Dylan’s music and its meanings might such a study reveal? The present article proposes one set of answers to these questions. First, by deploying a range of analytical techniques—from spectrographic analysis to schema theory—it demonstrates that the analytical challenges raised by Dylan’s performances are not as insurmountable as they might at first appear, especially when approached with a strategic and flexible methodological pluralism.
    [Show full text]
  • Tt the Miami
    You can be too thin Freedom fighter Meet the player Bulimia, an eating disorder on the rise among col­ A University of Miami exchange student helped No. 1 golfer Tracy Kerdyk explains the 'plan of at­ lege students, is the focus of a new treatment pro­ Afghan rebels in their fight for freedom. gram at the Counseling Center. tack' she and teammates use on the course. News — page 4 Accent — page 8 Sports — page 10 TTTH E MIAMI *&j*. Volume 65, Number 35 URRICANE University of Miami Friday, February 19, 1988 Honor Council Reaching out Program hears 17 cases hopefuls Cases deal with plagiarism, copying from neighbor's exam visit UM By KAY HOWELL "collaborating in an unauthorized Staff Writer manner on a take-home assign­ Honors candidates ment." Since the University of Miami Probable cause was not found in compete for entry Undergraduate Student Honor one of the student's cases and it Code and Council was implement­ was dismissed. After appeal, the ed in September 1986, 17 cases other student was given a repri­ By JEFFREY SCHWARTZ have been heard, with two others mand. Staff writer pending resolution Wednesday. In another case, a senior busi­ Of the 17 cases, six resulted in ness student was accused by a About 80 students visited the suspension, five in disciplinary professor of plagiarizing a paper University of Miami last weekend probation, one in disciplinary assigned to him to make up for a to interview for a unique honors warning, and another in a repri­ quiz he alledgedly cheated on. The program which guarantees them mand.
    [Show full text]
  • THE LADDER a Lesbian Review November 1964 Vov»Aber 196If Purpose of the Ik E Laddeh Toi Um 9 Lia B E R 2
    THE LADDER a lesbian review november 1964 Vov»aber 196if purpose of the Ik e LaddeH ToI um 9 lia b e r 2 Publith*a monthly by tho Doughteri of BflltU, Inc., o gon- ^ pioflt corporation, 1232 Morkot Stroot, Suite 108, Son Fran- 0 B l L I T I S c isc o 2, Collfornio. Tolephono: UNderhlll 3 — 6196* A WOMEN’S ORGANIZATION FOR THE PURPOSE OF PROMOTING NATIONAL OFFICERS, DAUGHTERS OF BILITIS, INC. THE INTEGRATION OF THE HOMOSEXUAL INTO SOCIETY BY; PRESIDEMT - Cleo Olenn VICE-PRESIDENT - Del Shearer RECORDim SECRETARY - Agatha Mathys CORRESPONDING SECRETARY - Marjorie McCann PUBLIC RBUTIONS DIRECTOR - Phyllis Leon ............. TREASURER - Del Martin THE LADDER STAFF E d i t o r ^ Barbara GUttn^s O Education of the variant, with particular emphasis on the psych­ Fiction ond Poetry Editor — Agatha Mathys ological, physiological and sociological aspects, to enable her to understand herself and make her adjustment to society in all Production^)o^a Oliver, V. Pigrom its social, civic and economic implications— this to be accomp­ Circulation Manager— Cleo Glenn lished by establishing and maintaining as complete a library as possible of both fiction and non-fiction literature on the sex de­ THE LADDER is regarded as a sounding board for various viant theme; by sponsoring public discussions on pertinent sub­ points of vtaw on tha homophila and ralatad subjacts and doas not nacas&arity roftact tha opinion of tha organization. jects to be conducted by leading members of the legal, psychiat­ ric, religious and other professions; by advocating a mode of be­ havior and dress acceptable to society.
    [Show full text]
  • 1974 Tour with the Band
    BOB DYLAN / THE BAND (a collectors guide to the 74 Tour) BOB DYLAN / THE BAND - a collectors guide to the 74 Tour “There are two problems with the 1974 tour: the tapes are crap and Dylan‟s performances are crap.” – C. Heylin, Telegraph 32 pg 86. Introduction This booklet / File (like the anonymous companion volume “Songs of the Underground” for RTR) is intended to document the audio resources available to collectors concerning the 1974 tour with the Band. It is intended to supplement and possibly correct the three major resources available to collectors (Krogsgaard, Dundas & Olof‟s files). Several PA tapes have emerged since Krogsgaard was last updated, and (I believe) there are errors in Dundas (concerning the PA tapes from 11 Feb 1974) that I wished to address. Additionally, none of these references (except for one full listing in Krogsgaard) include the Band sets. While details are difficult to obtain, I have included details of about three-quarters of the Band sets. It is hoped that readers on the web may contribute more information. I believe that the Band was a significant contributor to the 1974 Tour and should be included in any 1974 Tour documentation. I have also identified the sources for the Vinyl and CD bootlegs, where my resources allowed. Often the attributions on Bootlegs are misleading, incomplete or wrong. As an example „Before and After the Flood‟ claims to be from MSG NYC 30.1.1974 when it is actually a combination of the PA tapes from 31.1.74 (evening) and 11.2.74 (evening).
    [Show full text]
  • BANG! the BERT BERNS STORY Narrated by Stevie Van Zandt PRESS NOTES
    Presents BANG! THE BERT BERNS STORY Narrated by Stevie Van Zandt PRESS NOTES A film by Brett Berns 2016 / USA / Color / Documentary / 95 minutes / English www.BANGTheBertBernsStory.com Copyright © 2016 [HCTN, LLC] All Rights Reserved SHORT SYNOPSIS Music meets the Mob in this biographical documentary, narrated by Stevie Van Zandt, about the life and career of Bert Berns, the most important songwriter and record producer from the sixties that you never heard of. His hits include Twist and Shout, Hang On Sloopy, Brown Eyed Girl, Here Comes The Night and Piece Of My Heart. He helped launch the careers of Van Morrison and Neil Diamond and produced some of the greatest soul music ever made. Filmmaker Brett Berns brings his late father's story to the screen through interviews with those who knew him best and rare performance footage. Included in the film are interviews with Ronald Isley, Ben E. King, Solomon Burke, Van Morrison, Keith Richards and Paul McCartney. LONG SYNOPSIS Music meets the Mob in this biographical documentary, narrated by Stevie Van Zandt, about the life and career of Bert Berns, the most important songwriter and record producer from the sixties that you never heard of. His hits include Twist and Shout, Hang On Sloopy, Brown Eyed Girl, Under The Boardwalk, Everybody Needs Somebody To Love, Cry Baby, Tell Him, Cry To Me, Here Comes The Night and Piece of My Heart. He launched the careers of Van Morrison and Neil Diamond, and was the only record man of his time to achieve the trifecta of songwriter, producer and label chief.
    [Show full text]
  • Mexico City's Foro Sol Shines on in a Rough Year
    MEXICO CITY’S FORO SOL SHINES ON IN A ROUGH YEAR n a year in which nearly every- thing changed, one thing that strong for Foro Sol, which enter- spots on the Hot Tickets list for THEIR TURN: Foro Sol’s remained constant was Foro tains big acts and festivals during 2020. Electric Daisy Carnival drew design allows it to host Sol’s hold on the top spot in the months when temperatures in nearly 300,000 people and grossed open-wheel racing. Top Stops rankings for venues Mexico City are comfortable but almost $12.5 million, making it the holding more than 30,000. cold weather prevents most big No. 1 Hot Ticket, and Vive Latno IThe 55,000-capacity stadium in outdoor events in North America had ticket sales of 153,892 and a ing with 1,100,481. Mexico City, operated by Mexican and Europe. gross of $7,747, 979, putting it at Among the big names to play entertainment and media compa- By the time COVID-19 shut- No. 4 on the Hot Tickets list. the venue in 2020, Maroon 5 hit ny Grupo CIE, came in with total downs hit venues around the world The stadium also ruled its the stage Feb. 23 and Billy Joel, ticket sales of 677,591 for the re- in mid-March, Foro Sol had already capacity category for the past two taking a break from ballparks for porting period in this COVID-ab- played host to Electric Daisy years. In 2019, it sold 881,760 a stadium that hosts auto racing, breviated concert season.
    [Show full text]
  • Bill Harry. "The Paul Mccartney Encyclopedia"The Beatles 1963-1970
    Bill Harry. "The Paul McCartney Encyclopedia"The Beatles 1963-1970 BILL HARRY. THE PAUL MCCARTNEY ENCYCLOPEDIA Tadpoles A single by the Bonzo Dog Doo-Dah Band, produced by Paul and issued in Britain on Friday 1 August 1969 on Liberty LBS 83257, with 'I'm The Urban Spaceman' on the flip. Take It Away (promotional film) The filming of the promotional video for 'Take It Away' took place at EMI's Elstree Studios in Boreham Wood and was directed by John MacKenzie. Six hundred members of the Wings Fun Club were invited along as a live audience to the filming, which took place on Wednesday 23 June 1982. The band comprised Paul on bass, Eric Stewart on lead, George Martin on electric piano, Ringo and Steve Gadd on drums, Linda on tambourine and the horn section from the Q Tips. In between the various takes of 'Take It Away' Paul and his band played several numbers to entertain the audience, including 'Lucille', 'Bo Diddley', 'Peggy Sue', 'Send Me Some Lovin", 'Twenty Flight Rock', 'Cut Across Shorty', 'Reeling And Rocking', 'Searching' and 'Hallelujah I Love Her So'. The promotional film made its debut on Top Of The Pops on Thursday 15 July 1982. Take It Away (single) A single by Paul which was issued in Britain on Parlophone 6056 on Monday 21 June 1982 where it reached No. 14 in the charts and in America on Columbia 18-02018 on Saturday 3 July 1982 where it reached No. 10 in the charts. 'I'll Give You A Ring' was on the flip.
    [Show full text]
  • Tangled Generation: Dylan, Kerouac, Petrarch, and the Poetics of Escape Author(S): Timothy Hampton Source: Critical Inquiry, Vol
    Tangled Generation: Dylan, Kerouac, Petrarch, and the Poetics of Escape Author(s): Timothy Hampton Source: Critical Inquiry, Vol. 39, No. 4 (Summer 2013), pp. 703-731 Published by: The University of Chicago Press Stable URL: http://www.jstor.org/stable/10.1086/671353 . Accessed: 20/09/2015 11:46 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The University of Chicago Press is collaborating with JSTOR to digitize, preserve and extend access to Critical Inquiry. http://www.jstor.org This content downloaded from 136.152.209.203 on Sun, 20 Sep 2015 11:46:44 AM All use subject to JSTOR Terms and Conditions Tangled Generation: Dylan, Kerouac, Petrarch, and the Poetics of Escape Timothy Hampton And I alone escaped to tell you. —Job (1:15) 1. Tracks “Demonstrators found our house and paraded up and down in front of it chanting and shouting, demanding for me to come out and lead them somewhere—stop shirking my duties as the conscience of a generation. The neighbors hated us. To them it must have seemed like I was something out of a carnival show.”1 So writes Bob Dylan in his memoirs about his life in the late 1960s.
    [Show full text]
  • Blood on the Tracks: ‘Time Is an Enemy’
    Judas! Blood on the Tracks: ‘Time is an enemy’ by John Hinchey ‘Up to Me,’ an outtake eventually released on Biograph, is a rueful ballad of love wasted that picks up the action at the conclusion of ‘Idiot Wind,’immediately after the singer realizes that he and his beloved have fallen out of each other’s orbits. But its tone seems tempered by the realizations of those songs, discussed in the preceding chapter, in which the singer assimilates a devastating romantic loss and struggles to regain speaking terms both with his lost beloved and with himself. Now, in ‘Up to Me,’ the singer he returns to tell her – and himself – what he’s going to do about it. His plan of action is paradoxical: he’s heading out on the ‘Union Central’ in search of the same missing wife he’s leaving. The song I just described is over by the end of the third verse, yet ‘Up to Me’ is twelve verses long. The song gets away from Dylan, overflowing the bounds of the paradoxical farewell note. The lyric feels unfinished, and unlike, for instance, the original version of ‘Idiot Wind’ (later released on The Bootleg Series, Vol. 1-3), it also strikes me as unfinishable, except by starting over from scratch. Indeed, ‘Shelter from the Storm’ can be seen as a radical revision (and revisioning) of ‘Up to Me.’ The problem is that the momentum of feeling that sweeps the singer from one verse to the next seems to be largely unconscious, feelings he recognizes (if at all) only after the fact.
    [Show full text]