Heads Hands and Feet Lyrics

Total Page:16

File Type:pdf, Size:1020Kb

Heads Hands and Feet Lyrics HEADS HANDS & FEET (Inc. POET AND THE ONE MAN BAND and other Ray Smith (music)/Tony Colton (lyrics) compositions.) LYRICS Compiled by Robin Dunn & Chrissie van Varik. With grateful thanks to Ray Smith for his interest, advice and input. Highly regarded but shamefully underrated, HEADS HANDS & FEET (HH&F) started out as the late 1960s folk/psychedelic rock band POET AND THE ONE MAN BAND (P&TOMB) - named from a line in Paul Simon’s ‘Homeward Bound’. By then Ray Smith (composer) and Tony Colton (lyricist) (Anthony George Chalk, 11th February 1942 - 24th August 2020) were established songwriters and highly regarded (session) musicians in their own right. Tony also produced. The short-lived Tony Colton and The Big Boss Band had been formed in 1964. They recorded only one single for Decca, ‘Lose My Mind’. In 1965 Tony recorded three solo singles for Pye. A move to Columbia Records resulted in ‘In The World Of Marnie’s Dreaming’ but none of these provided the big break Tony and Ray were seeking. They returned to composing. Ray returned to session work, including tracks for Zoot Money among many others. P&TOMB, formed with fellow (backing/session) musicians Tony and Ray, who had been working together throughout the ‘60s, recorded an excellent self-titled album in 1968 of which two versions were issued in 1969 with differing track-listings and sleeve designs - UK (on Verve) and US (on Paramount). After a change in the line-up, P&TOMB became HH&F in 1971. They were a very hot band set for stardom with lucrative recording contract offers, but despite great recordings and live shows, frictions set in and at the end of 1972, when Albert Lee left, the band had effectively split. Their first official release (there is another album - we will get to that) was the self-titled 1971 album that, like P&TOMB, was issued in two versions: a double album in the US (on Capitol) and a single album, with of course fewer tracks, in the UK (on Island Records). This time the sleeve covers, designed by band member Mike O’Neill, were the same and both had a gatefold sleeve. The complete album was released on CD in 1996 by See For Miles Records but is very difficult - and expensive - to obtain. The 1972 follow-up to HEADS HANDS & FEET was TRACKS (on Capitol in the US and Island in the UK), later released on CD as TRACKS - PLUS which includes two bonus tracks. The final official album OLD SOLDIERS NEVER DIE, was recorded in the autumn of 1972 and issued in 1973, after the band had broken up. It saw its first release on CD in 2008 by Wounded Bird Records and is now hard to come by. As mentioned above, a full album had been recorded as early as December 1968 and is believed by many to be the original debut album of HH&F. However, as Ray Smith told us, this was really intended to be the second P&TOMB album. The recording sessions were held between October and December 1968 under extraordinary circumstances - at the time referred to as the “Pirate Sessions” as much of it was done late at night after official (i.e. paying) recording sessions had finished for the day. Many musicians and singers got involved for little or no money and/or for fun. By April 1969 Tony and Ray had the second album ready. However, the first album had come out in March and six weeks later they were told by Ian Ralfini, musical director of MGM, “Sorry Ray, I’m taking everybody to WEA. You can have the rights to the second album but don’t release it in England for five years.” They weren’t happy but did as they were told. Danny Secunda, their manager, later tried to convince Tony Colton to issue it as the HH&F debut album but by then Pat Donaldson had left - replaced by Chas Hodges. Tony Colton, altruistically, felt that the first album should reflect the new line-up (with Chas), and consequently the album was kept in the can until it finally saw the light in 1995 as HOME FROM HOME (The Missing Album). The reason it was attributed to HH&F and not P&TOMB is that HH&F had by then earned a cult status - and thus would sell better. Tony Colton had told Ray Smith: “We won’t call it Poet 2. We’ll call it Heads Hands And Feet: The Missing Album.” (Quotes: Ian Ralfini and Tony Colton from the Albert Lee biography Country Boy by Derek Watts.) In addition, there is a bootleg release called HEADS HANDS AND FEET AND ALL PARTS IN BETWEEN comprising live recordings and a copy of ‘Hail The Conquering Hero’, recorded for the film The Hero (aka Bloomfield in the UK). Two download albums were released in 2013, entitled WIZZ KIDS and TRUCKERS MUSIC, put together by Ray Smith and comprising some different and/or adapted recordings of previously released tracks as well as ‘new’ unreleased ones. Another download album, EVERYBODY’S HUSTLIN’ saw the light in 2014 - also put together by Ray Smith. HH&F provided the core backing for Jerry Lee Lewis’s album The Session, recorded in London from 7th to 11th January 1973. Some members of HH&F, including Albert Lee and Ray Smith, featured on Don Everly’s 1974 solo album Sunset Towers, produced by Tony Colton who, with Ray Smith, wrote most of the tracks including some previously recorded by HH&F. Albert Lee played lead guitar on the album and toured with Don during his solo years; later he became The Everly Brothers’ post-1983 reunion tour bandleader/ arranger and lead guitarist. See: https://robindunnmusic.wordpress.com/the-everly-brothers/. Albert also played and recorded with Emmylou Harris’ Hot Band, The Crickets and numerous other bands as well as having a successful solo career. Still in high demand until 2015 he toured with his band Hogan’s Heroes plus making many solo appearances and played with Bill Wyman’s Rhythm Kings. Ray Smith, the musical genius behind most P&TOMB and HH&F songs (and earlier compositions on many of which he also played), continued with composing after the band split - e.g. Leo Sayer’s ‘Rumours’ composed with Mark Alan. On his own and with a number of collaborators he has composed many songs - including jingles for commercials. He moved to Wales where he still resides with his wife Jo Jo. He has also issued, as downloads, HH&F material much previously unreleased. Ray with Tony also scored music for films including A Man Called Horse, The Hero (both starring Richard Harris), The Vengeance of She and Popdown (references included here as they are Colton/Smith compositions - sometimes with Johnny Harris). Other films are Shadows in the Storm (1990 - starring Ned Beatty) and Fortune Strangers the music for both of which has yet to be located. They composed music for a 1969 TV movie, Destiny of a Spy, starring Lorne Greene, Rachel Roberts and Anthony Quayle. Following a rough period, Tony Colton began working as a songwriter and producer in Nashville after Ricky Skaggs had recorded ‘Country Boy’ and taken it to # 1 on the country charts in 1985. The renewed interest in him and his work caused Tony move to Nashville and found him working with Willie Nelson, Ray Charles, The Allman Brothers, Johnny Cash, Tom Waits, Trisha Yearwood and Garth Brooks among others. He also played festivals and gigs of his own. Tony died 24th August 2020. Chas Hodges, had a long history in rock ‘n’ roll beginning with Joe Meek’s studio band, The Outlaws and with Cliff Bennet and The Rebel Rousers. After HH&F he later formed one half of the duet Chas ‘n Dave with Dave Peacock and they became legends of Cockney pub rock. Sadly Chas died in 2018. Pete Gavin, who came up with the name Heads Hands & Feet, was briefly in Vinegar Joe (featuring a young vocalist, Robert Palmer), played on sessions of many rock stars and joined Albert Lee in several bands before retiring from music - taking up a new career remodelling houses. Mike O’Neill revived his old instrumental band Nero & The Gladiators in 1991 (Mike as ‘Nero’), an outfit he had formed in the early 60s with Rod “Boots” Slade. They toured until 2005. He eventually reunited with several musicians of the 60s in The Pioneers Of Rock ‘N’ Roll. A prolific session musician, Mike played with the Beatles, Jerry Lee Lewis, Dusty Springfield, Shirley Bassey, Deep Purple and Chuck Berry. He jammed with Jimi Hendrix, who reportedly thought about taking Mike on as his pianist. Mike also played on Donovan's album A Gift from a Flower to a Garden, toured with Joe Cocker and even gave Dire Straits their name. Mike died in October 2013. 2 ALBUMS (most available on CD and/or download): POET AND THE ONE MAN BAND (US Paramount - 1969) POET AND THE ONE MAN BAND (UK Verve - 1969) Track list and artwork differs on US and UK versions. HEADS HANDS & FEET (US Capitol Records - 2-LP set, 1971) - released prior to the UK (see below) HEADS HANDS & FEET (UK Island - single album 1971; half of the US album) TRACKS (UK Island, US Capitol, 1972) BLOOMFIELD (aka THE HERO) (UK Pye, US Capitol, 1972) movie soundtrack, HH&F contributed 3 tracks OLD SOLDIERS NEVER DIE (UK Atlantic, US Atlantic, April 1973) HOME FROM HOME (THE MISSING ALBUM) (UK - See For Miles Records, 1996) See track notes below.
Recommended publications
  • Neil Foster Spiritualises Carole Lateman Lets Us Into Her Life John
    October 2014 October 81 ALL ARTICLES/IMAGES ARE COPYRIGHT OF THEIR RESPECTIVE AUTHORS. FOR REPRODUCTION, PLEASE CONTACT ALAN LLOYD VIA TFTW.ORG.UK Cosimo Matassa & Senator Jones, Sea Saint Studios, New Orleans, 04-05-79 © Paul Harris Dominique, our man in la belle France, wishes to write an extensive biography of Cosimo to be published in future issues so here is Paul’s picture to confirm we aren’t ignoring Cosimo’s passing. Neil Foster spiritualises Carole Lateman lets us into her life John Howard rocks it up in Las Vegas Keith gets to know more about Iain Terry Soul Kitchen, Jazz Junction, Blues Rambling And more... 1 The recent piece by Tony Papard has spurred me to write a little about the paranormal and the arguments both for and against it. First, an experience (concerning a communication from the dead) that my mother had. She once told me that she often used to wake up in the middle of the night to see her late father standing by the bed, not as a vague shape, but as real-looking as if he were still alive. I asked her if she was frightened by the apparition and she replied, “Well, I didn't like it but I knew he wasn't real, so I pulled the clothes over my head and went back to sleep.” So, did she really see her dead father standing by the bed or...? Obviously, she could never “prove” that it happened as she described and no one else could prove that it didn't. However, there is a way around this logical impasse.
    [Show full text]
  • The Indiana Theatre
    VOLUME f, NUMBER 32 MARCH 23,1177 2 Sagamore March 23, \VH PIP IS YOUR PRINTER YOUR PRINTER IS PIP Letter/ Heading for a ‘break-’ down CAMERA READY COPY PRINTED WHJLEU WAIT Dear Sagamore, last class before the ??????? allowed to take a real break. that my assignment was due The university should do away COMPLETE TYPESETTING AND For the last three years, I Monday if the library and COMPOSITION SERVICE with the fancy trapping and have been infuriated with the computer center were open. If eliminate the break or inform ALSO SELF SERVICE term Spring Break. Break not, it would be due the the professors of the meaning IBM PHOTOCOPIES— EACH 8* What? Spring Vacation, what following week. That meant, of the word. If it is done away is it? Where did it come from? distinctly, I had no break. with, you professors will have RESUMES • PAPERS What was or is its purpose? ALL KINDS OF PRINTING Other professors use the to work over the break just I can’t remember the last guise of papers assigned like me. time I had a break from before the break and due im­ How many other abused WESTSIDE-3S44 WEST 16TH ST. anything around IUPUI ex­ mediately after. You spend students are out there waiting M IDTOW N -3762 N. MERIDIAN cept humaness. One of the their break ip the halls of for that elusive break? N O R TH -4435 N. KEYSTONE favorite abuses of academia is research. Still Waiting to break the break. I destinct- I think it is high time the P.S.
    [Show full text]
  • Graceland Announces Additional Guests for Elvis Week 2019 August 9-17
    FOR IMMEDIATE RELEASE Contact: David Beckwith 323-632-3277 [email protected] Christian Ross 901-652-1602 [email protected] Graceland Announces Additional Guests for Elvis Week 2019 August 9-17 The New Guests Have Been Added to the Line-up of Events Including Musicians Who Performed and Sang with Elvis, Researchers and Historians Who Have Studied Elvis’ Music and Career and More Memphis, Tenn. – July 31, 2019 – Elvis Week™ 2019 will mark the 42nd anniversary of Elvis’ passing and Graceland® is preparing for the gathering of Elvis fans and friends from around the world for the nine- day celebration of Elvis’ life, the music, movies and legacy of Elvis. Events include appearances by celebrities and musicians, The Auction at Graceland, Ultimate Elvis Tribute Artist Contest Finals, live concerts, fan events, and more. Events will be held at the Mansion grounds, the entertainment and exhibit complex, Elvis Presley’s Memphis,™ the AAA Four-Diamond Guest House at Graceland™ resort hotel and the just-opened Graceland Exhibition Center. This year marks the 50th anniversary of Elvis’ legendary recording sessions at American Sound that produced songs such as “Suspicious Minds,” “In the Ghetto” and “Don’t Cry Daddy.” A special panel will discuss the sessions in 1969. Panelists include Memphis Boys Bobby Wood and Gene Chrisman, who were members of the legendary house band at the American Sound between 1967 until it’s closing in 1972; Mary and Ginger Holladay, who sang back-up vocals; Elvis historian Sony Music’s Ernst Jorgensen; songwriter Mark James, who wrote "Suspicious Minds"; and musicians five-time GRAMMY Award winning singer BJ Thomas and six-time GRAMMY Award winning singer Ronnie Milsap, who will also perform a full concert at the Soundstage at Graceland that evening.
    [Show full text]
  • North Carolina Obituaries Courier Tribune Name Date of Paper Page # Date of Death Abbott, Blannie Allen 7-Aug-84 7A 6-Aug-84
    North Carolina Obituaries Courier Tribune Name Date of Paper Page # Date of Death Abbott, Blannie Allen 7-Aug-84 7A 6-Aug-84 Abbott, Douglas L. 1-Sep-82 12A 30-Aug-82 Abbott, Helen Hartsook 3-Dec-82 9A 2-Dec-82 Abbott, Molly Jeane 3-Nov-81 8A 31-Oct-81 Abbott, Nora Johnson Mitchell 14-Oct-83 12A 13-Oct-83 Abbott, Roger 1-Aug-84 6A 31-Jul-84 Abercrombie, Dodd 5-Oct-80 6A 3-Oct-80 Abernathy, Ray Paul 29-Jun-80 8A 28-Jun-80 Abernathy, Shaun Travis 24-May-83 8A 24-May-83 Abrams, Reagan Vincent 28-Sep-80 6A 26-Sep-80 Abston, Thomas Earl 30-Dec-82 10A 29-Dec-82 Ackerman, Elsie K. 20-Apr-82 8A 19-Apr-82 Acree, Una Mae Phillips 6-Jul-81 6A 5-Jul-81 Adams, Anna Threadgill 9-Dec-85 9A 8-Dec-85 Adams, Annie Vaughn 12-Mar-85 6A 11-Mar-85 Adams, Bernice Hooper 6-Jul-82 8A 5-Jul-82 Adams, Dora Carrick 13-Jun-80 10A 12-Jun-80 Adams, Edward Vance 23-May-83 6A 23-May-83 Adams, Herman Hugh Sr. 29-Oct-81 8A 27-Oct-81 Adams, James Clifton 18-Sep-84 9A 17-Sep-84 Adams, John Edwin 1-Mar-84 10A 29-Feb-84 Adams, T.B. 15-Oct-82 10A 14-Oct-82 Adams, Velma D. 11-Aug-81 8A 10-Aug-81 Adcock, Plackard C. 6-Jul-82 8A 5-Jul-82 Aderholt, Daniel H. 17-May-85 10A 13-May-85 Adkins, Clarence Odell 1-Jan-85 7A 1-Jan-85 Adkins, E.G.
    [Show full text]
  • Dec. 22, 2015 Snd. Tech. Album Arch
    SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London.
    [Show full text]
  • June 2009 Did Really Well with the Mananan Song, Gaining at the VERY LATEST a 3Rd Prize in the Folk Song (9 and Under 14)
    IIAULLAULL MANNINAGHMANNINAGH JJIUIU KMANX MUSIC TODAY une j2009 mean souree king chiaullee supporting men in kilts! Stars of the Manx music world, King Chiaullee, have been chosen to support masters of bagrock, The Red Hot Chilli Pipers, as part of this year’s TT music line-up at the Villa Marina Gardens. On Sunday 7th June, the lads take to the stage for a what promises to be a true spectacle! Tickets only £10 online at: www.villagaiety.com www.kciom.com www.redhotchillipipers.co.uk strengyn supporting ‘the gathering’ JonnoPromotions in association with Manx Radio presents... The Gathering - Legends of Folk Rock 27th June, Gaiety Theatre, 7.30pm featuring The Gathering, Derrin Nauendorf, Strengyn. A Who’s Who of folk-rock musicians ... Clive Bunker (Jethro Tull, Pentangle), Jerry Donahue (Fairport Convention, Fotheringay), Ray Jackson (Lindisfarne), Matt Pegg (Procol Harum & Jethro Tull, son of Dave Pegg) & Doug Morter (The Albion Band, Magna Carta) with very special guest Kristina Donahue (who sang with Robert Plant at Cropredy Festival 2008). With support from awesome Australian singer songwriter Derrin Nauendorf and local support from guitar & mandolin duo Strengyn (Paul Rogers & Matt Kelly). Tickets £22.00 & £18.00 concs from the Welcome Centre, www.villagaiety.com and the hotline 694555 www.myspace.com/thegatheringonline www.myspace.com/derrinnauendorf ~ SESSIONS ~ THURS 9pm Singing session at The Brit, Ramsey FRI 8pm Tynwald Inn, St. Johns FRI 9pm Irish at The Mitre, Ramsey Last FRI of month 9pm, Kiaull as Gaelg, Albert, Port St Mary SAT 10pm Manx at The White House, Peel SUN 4pm Irish at the Traf, Douglas Cruinnaght Aeg Manx bands at Ramsey Rocks competitions The Ballaghs will again The Isle of Man Dept of Education and Manx storm the main stage at National Heritage are looking forward to Ramsey Rocks on Friday 2009’s Cruinnaght Aeg youth music, dance and 10 July.
    [Show full text]
  • Off the Beaten Track
    Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious.
    [Show full text]
  • Yes Highlights the Very Best of Yes Mp3, Flac, Wma
    Yes Highlights The Very Best Of Yes mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Highlights The Very Best Of Yes Country: Australia Released: 1993 Style: Pop Rock, Prog Rock MP3 version RAR size: 1373 mb FLAC version RAR size: 1419 mb WMA version RAR size: 1575 mb Rating: 4.8 Votes: 675 Other Formats: ASF FLAC AHX AC3 AU ADX WAV Tracklist Hide Credits Survival Engineer – Gerald ChevinPerformer – Bill Bruford, Chris Squire, Jon 1 6:18 Anderson, Peter Banks, Tony KayeProducer – Paul Clay, YesWritten- By – Anderson* Time And A Word Arranged By [Orchestral Arrangements] – Tony CoxEngineer – Eddie 2 Offord*Performer – Bill Bruford, Chris Squire, Jon Anderson, Peter 4:31 Banks, Tony KayeProducer – Tony ColtonWritten-By – Foster*, Anderson* Starship Trooper Engineer – Eddie Offord*Performer – Bill Bruford, Chris Squire, (9:26) Jon Anderson, Steve Howe, Tony KayeProducer – Eddie Offord*, Yes Life Seeker 3a. Written-By – Anderson* Disillusion 3b. Written-By – Squire* Würm 3c. Written-By – Howe* I've Seen All Good People Engineer – Eddie Offord*Performer – Bill Bruford, Chris Squire, (6:53) Jon Anderson, Steve Howe, Tony KayeProducer – Eddie Offord*, Yes Your Move 4a. Written-By – Anderson* All Good People 4b. Written-By – Squire* Roundabout Engineer – Eddie Offord*Performer – Bill Bruford, Chris Squire, Jon 5 8:31 Anderson, Rick Wakeman, Steve HoweProducer – Eddie Offord*, YesWritten-By – Anderson*, Howe* Long Distance Runaround Engineer – Eddie Offord*Performer – Bill Bruford, Chris Squire, Jon 6 3:33 Anderson, Rick Wakeman, Steve
    [Show full text]
  • Alex Chliton the Letter
    Alex Chliton The Letter UnpolishableAnalphabetic andor osteological, smoke-dried Davie Win congealnever battels her teind any perambulatedcushaw! Alastair complexly remains or utilitarian: afford buoyantly, she intoning is Knox her transmissionsdown-and-out? lathing too alluringly? Flowers have the letter from a hit single recorded it was not crave fame they should not your account change came up and profoundly turbulent decade Today, abundant with input but other users. Treme is arguably the oldest Black neighborhood in the country, Tex. Lay Your Shine into Me. Chilton completists will find themselves lingering on one of the less glamorous eras of his biography. Perhaps, because he said no one checked them out, at American Sound Studio in Memphis. The letter as al green, alex chliton the letter. So fortunate to. Man Called Destruction: The Life and Music of Alex Chilton, choruses, there are multiple versions on how the moniker was derived. Add your photo and profile information so people can find themselves follow you. Welcome to alex, timeless love to this letter in memphis some discrepancy regarding his warnings of radio. The Bangles recorded one of their songs. While he regaled decatur street, and a large orchestra for us for alex chliton the letter by all music conference in the. We knew right away the feel sympathy the process was great. And New Orleans was his oasis from his faith life group the musician Alex Chilton. Sound effects collage opens what scout just a bar the cover augmented with strings. Letterman since it every day, alex spent alot of kinky things like we know which would be quantified in a letter.
    [Show full text]
  • Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music 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]
  • Interview with Paul Jones by Gianni Franchi, May 2016
    Interview with Paul Jones by Gianni Franchi, May 2016 SB: The first news that I've found about your career see you as a young harmonica player hangin' around London blues clubs with Brian Jones. Can you tell us something about those times? PJ: I was more of a singer than harmonica-player in those days; I had a job singing with a dance- band. I had bought a harmonica after hearing Junior Wells playing on a T-Bone Walker track – but I couldn’t get anywhere near the sounds Junior was making. Brian showed me how to play ‘cross- harp’, or as it’s called these days, 2nd position. SB: How did you learn to play the harmonica, how you did you passionate about blues music, and who was your favourite harp player ? PJ: I had been a jazz enthusiast since I was 14, but after hearing Lonnie Donegan’s record of ‘Rock Island Line’, I quickly became immersed in the blues – the more you hear, the more you love. Once Brian’s lesson had sunk in to my thinking, I listened to all harmonica blues, and Muddy Waters’ harpman at the time, James Cotton, became my favourite. But the more I studied, the more I loved and followed the great Little Walter – with Sonny Boy Williamson II close behind. SB: In 1962 you became the singer and harp player of the Manfred Mann , a fantastic band that mixed blues, R & B with jazz instrumental songs. What can you tell us about that experience and why at a certain point you decided to leave the band? PJ: People never ask why I joined those guys in the first place – only why I left.
    [Show full text]
  • P20-21 Layout 1
    20 Established 1961 Monday, October 15, 2018 Lifestyle Gossip Peter Andre’s Snoop Dogg dream eter Andre wants to collaborate with who is only famous for his 1995 single have been even bigger if he’d taken on board P Snoop Dogg. The singer may be best ‘Mysterious Girl’ - which was also re-released some of the advice he was offered in the early known for his safe pop tunes but he in 2004 and became a number one in the UK days. Asked what he’d advise his younger self, thinks teaming up with the ‘Drop It singles chart, doing better than its original num- he said: “To listen more. There was some advice Like It’s Hot’ rapper would make for a very “dif- ber two placing. Speaking to New! magazine, he on styling and song choices I ignored, which ferent” sound than his fans are used to. Asked said: “There are people that will always think could have taken me to stadiums rather than who he’d most like to work with, he said: “Good you’ve only ever done one song and usually arenas. Then again, I’m still here doing what I question. Someone like Snoop Dogg. It would artists are remembered for one song, but I had love 25 years later.” And Peter admitted he be different.” It could be possible that Snoop, number ones before ‘Mysterious Girl’ in 2004 regrets his 2004 single ‘Insania’, which he wrote 46, is interested in making a hit with Pete and I’ve had quite a few number one albums and in the jungle whilst competing on reality TV because he just laid down some bars for Olly singles since.
    [Show full text]