Normanskill November ‘19

Total Page:16

File Type:pdf, Size:1020Kb

Normanskill November ‘19 Normanskill November ‘19 normanskillstrummers.com Normanskill November ‘19 Songs: 1. Alice’s Restaurant 2. Are You Lonesome Tonight 3. Big Yellow Taxi 4. Blowin’ In The Wind 5. Da Doo Ron Ron 6. Doodle - E - Doo 7. Down By The Riverside 8. Down In The Valley 9. Eight Days a Week 10. Goin’ Up The Country 11. Goodnight Irene 12. I’ll Fly Away 13. I’m Into Something Good 14. I’ve Got The Turkey Blues 15. Kansas City 16. On the Road Again 17. Over the River and Through The Woods 18. Pearly Shells 19. Remember Me 20. Runaway 21. Stealin 22. The Circle Game 23. The Letter 24. The Separation Blues 25. There’s a Kind of Hush 26. These Boots Are Made For Walkin 27. This Land is Your Land 28. This Little Light of Mine 29. Wagon Wheel 30. Will The Circle Be Unbroken 31. Will You Still Love Me Tomorrow 32. (What a) Wonderful World 33. Worried Man Blues 34. You Ain’t Goin’ Nowhere 35. You Are My Sunshine Alice’s Restaurant (traditional Thanksgiving song) Arlo Guthrie,1967 (play this chord progression throughout the song) C - A - A7 - D - G - C + C - A - A7 - D - G + C - C7 - F - D + C - A - A7 - D - G - C “This song is called Alice's Restaurant, and it's about Alice, and the restaurant, but Alice's Restaurant is not the name of the restaurant, that's just the name of the song, and that's why I called the song Alice's Restaurant.” C A A7 D G C You can get anything you want at Alice's Restaurant, C A A7 - D G you can get anything you want at Alice's Restaurant. C C7 Walk right in, it's around the back, F D just a half a mile from the railroad track, C A A7 D G C you can get anything you want at Alice's Restaurant. C A H D G F J 1 Are You Lonesome Tonight? (C) Roy Turk, Lou Handman, 1926 (Elvis Presley, many others) Are you [C] lonesome to- [Cmaj7] night, do you miss me to- [Am7] night? Are you [C] sorry we [A7] drifted a- [Dm] part? Does your [G7] memory stray, to a bright summer day, When I [Dm] kissed you and [G7] called you sweet- [C] heart? Do the [C7] chairs in your parlour seem [F] empty and bare? Do you [D7] gaze at your doorstep and [Dm] picture me [G7] there? Is your [C] heart filled with pain; Shall I [D] come back again? Tell me [Dm] dear, are you [G7] lonesome to- [C] night? Instrumental verse: hum while repeating first three verse chords Is your [C] heart filled with pain; Shall I [D] come back again? Tell me [Dm] dear, are you [G7] lonesome to- [C] night? C Q h H d N J F K 2 Big Yellow Taxi Joni Mitchell, 1970 They [C] paved paradise, and put up a parking [G] lot With a [C] pink hotel, a [D] boutique, and a swinging [G] hot spot [G] Don't it always [Gmaj7] seem to go, That you [C] don't know what you've got 'till it's [G] gone They [C] paved paradise, and [D] put up a parking [G] lot [G] Ooo, ba, ba, ba, ba, Ooo, ba, ba, ba, ba They [C] took all the trees, and put them in a tree mus- [G] eum And they [C] charged all the people a [D] dollar and a half just to [G] see 'em [G] Don't it always [Gmaj7] seem to go, That you [C] don't know what you've got 'till it's [G] gone They [C] paved paradise, and [D] put up a parking [G] lot [C] Hey, farmer, farmer, put away that D - D - [G] - T now Give me [C] spots on my apples, But [D] leave me the birds and the [G] bees – Please [G] Don't it always [Gmaj7] seem to go, That you [C] don't know what you've got 'till it's [G] gone They [C] paved paradise, and [D] put up a parking [G] lot [C] Late last night, I heard the screen door [G] slam And a [C] big yellow taxi, [D] took away my old [G] man [G] Don't it always [Gmaj7] seem to go, That you [C] don't know what you've got 'till it's [G] gone They [C] paved paradise, and [D] put up a parking [G] lot [G] Don't it always [Gmaj7] seem to go, That you [C] don't know what you've got 'till it's [G] gone They [C] paved paradise, and [D] put up a parking [G] lot They [C] paved paradise, and [D] put up a parking [G] lot They [C] paved paradise, and [D] put up a parking [G] lot C G D U 3 Blowin’ In The Wind Bob Dylan, 1962 (Peter, Paul, and Mary, Joan Baez, many others) [G] How many [C] roads must a [G] man walk down Before you [C] call him a [D] man? Yes ‘n’ [G] How many [C] seas must a [G] white dove sail Before she [C] sleeps in the [D] sand? Yes, and how [G] many [C] times must the [G] cannon balls fly Before they're [C] forever [D] banned? The [C] answer, my [D] friend, is [G] blowin' in the [Em] wind The [C] answer is [D] blowin' in the [G] wind Yes, and [G] how many [C] years can a [G] mountain exist Before it's [C] washed to the [D] sea? Yes, and [G] how many [C] years can some [G] people exist Before they're [C] allowed to be [D] free? Yes, and [G] how many [C] times can a [G] man turn his head And pretend that he [C] just doesn't [D] see? The [C] answer, my [D] friend, is [G] blowin' in the [Em] wind The [C] answer is [D] blowin' in the [G] wind Yes, and [G] how many [C] times must a [G] man look up Before he can [C] see the [D] sky? Yes, and [G] how many [C] ears must one [G] man have Before he can [C] hear people [D] cry? Yes, and [G] how many [C] deaths will it [G] take 'till he knows That too many [C] people have [D] died? The [C] answer, my [D] friend, is [G] blowin' in the [Em] wind The [C] answer is [D] blowin' in the [G] wind C G D e 4 DA DOO RON RON Jeff Barry, Ellie Greenwich and Phil Spector, 1963 (The Crystals) I [C] met him on a Monday and my [F] heart stood still Da [G] doo ron ron ron, da [C] doo ron ron [C] Somebody told me that his [F] name was Bill Da [G] doo ron ron ron, da [C] doo ron ron [C] Yes, my [F] heart stood still [C] Yes, his [G] name was Bill [C] And when he [F] walked me home Da [G] doo ron ron ron, da [C] doo ron ron He [C] knew what he was doin' when he [F] caught my eye Da [G] doo ron ron ron, da [C] doo ron ron He [C] looked so quiet but [F] my oh my Da [G] doo ron ron ron, da [C] doo ron ron [C] Yes, he [F] caught my eye [C] Yes, but [G] my oh my [C] And when he [F] walked me home Da [G] doo ron ron ron, da [C] doo ron ron [C] [F] [G] [C] [C] [F] [G] [C] Well, he [C] picked me up at seven and he [F] looked so fine Da [G] doo ron ron ron, da [C] doo ron ron [C] Someday soon I'm gonna [F] make him mine Da [G] doo ron ron ron, da [C] doo ron ron [C] Yes, he [F] looked so fine [C] Yes, I’ll [G] make him mine [C] And when he [F] walked me home Da [G] doo ron ron ron, da [C] doo ron ron outro Da [C] doo ron ron ron, da [F] doo ron ron Da [G] doo ron ron ron, da [C] doo ron ron - repeat and fade C F G 5 DOODLE-E-DOO (Original version: DOODLE-DOO-DOO, by Art Kassel and Mel Stitzel,1924) [C] Please play for me, that sweet melody Called [D7] DOODLE-E-DOO, DOODLE-E-DOO [G7] I like the rest, but what I like best is [C] DOODLE-E-DOO, [C7] DOODLE-E-DOO It’s the [F] simplest thing, there's nothing much to it, You [C] don't have to sing, just [A7] DOODLE-E-DOO it. I [D7] love it so, wherever I go I just [G7] DOODLE-E-DOODLE-E- [C] DOO [C] Each little bird that I ever heard Sings [D7] DOODLE-E-DOO, DOODLE-E-DOO [G7] Even canaries in big aviaries [C] DOODLE-E-DOO, [C7] DOODLE-E-DOO [F] Robins and Wrens and birds of a feather, [C] Flickers and Finches [A7] all get together [D7] You’ll hear them peep, twitter and cheep Their [G7] DOODLE-E-DOO, DOODLE-E- [C] DOO [C] Once in a bar, an old opera star Sang [D7] DOODLE-E-DOO, DOODLE-E-DOO [G7] Once in a trance, the lord of the dance Sang [C] DOODLE-E-DOO, [C7] DOODLE-E-DOO [F] Everyone knows that music can cheer you, Just [C] tune up your pipes and let [A7] everyone hear you You [D7] know the song, sing right along Just [G7] DOODLE-E- DOODLE-E- DOODLE-E- DOODLE-E- DOODLE-E- DOODLE-E- [C] DOO C F J K N H 6 Down by the Riverside Trad.
Recommended publications
  • Tribute to Three Giants Figures of the Sixties' Pop
    TRIBUTE TO THREE GIANTS FIGURES OF THE SIXTIES’ POP MUSIC IN THE 50th ANNIVERSAIRE OF THEIR DEATH. ALAN WILSON, JIMI HENDRIX AND JANIS JOPLIN: ASTROLOGICAL REVIEW OF THREE 27’ CLUB MEMBERS. We were at the end of the “sixties”, a remarkable decade of 20th century for popular music, revolutionary movements, technological achievements and radical changes in human relationships. It was also the time of “hippie liberation”, the spread of drugs through young people. Everything was fine when, just in the span of thirty days, three outstanding members of musical background suddenly died. 1970, September the 3th: Alan Wilson, “Canned Heat” guitar, harmonica and vocal, commit suicide at home of another member group, Bob Hite, in Topanga Canyon, California. An overdose was the cause of his death. He was 27 years old. 1970, September the 18th: Jimi Hendrix, one of the bests guitarrist of all times, share his last night with Monica Dannemann in Samarkand Hotel, London. When she woke up Jimi was inconscious, yet breathe. He was moved at St. Mary Abbot Hospital, but he was not alive. The cause of his death: asphyxia per vomit. His partner declared that Jimi had had seven tablets of Vesparax, a barbituric, say, 18 times the recommended dose. He was 27 years old. 1970, October the 4th: Janis Joplin, a singer and contraculture icon of the sixties was found dead in her hotel room, at Los Angeles, just when she was going to record the vocal part of Buried Alive in the Blues next morning. A portent, maybe a synchronicity. The official cause of her death was an heroine overdose, probably combined with alcohol effects.
    [Show full text]
  • The Heart of Rock and Soul by Dave Marsh
    The Heart of Rock and Soul by Dave Marsh 20 BE MY BABY, The Ronettes Produced by Phil Spector; written by Phil Spector, Ellie Greenwich, and Jeff Barry Philles 116 1963 Billboard: #2 DA DOO RON RON, The Crystals Produced by Phil Spector; written by Phil Spector, Ellie Greenwich, and Jeff Barry Philles 112 1963 Billboard: #3 CHRISTMAS (BABY PLEASE COME HOME), Darlene Love Produced by Phil Spector; written by Phil Spector, Ellie Greenwich, and Jeff Barry Philles 119 1963 Did not make pop charts To hear folks talk, Phil Spector made music out of a solitary vision. But the evidence of his greatest hits insists that he was heavily dependent on a variety of assistance. Which makes sense: Record making is fundamentally collaborative. Spector associates like engineer Larry Levine, arranger Jack Nitzsche, and husband-wife songwriters Jeff Barry and Ellie Greenwich were simply indispensable to his teen-art concoctions. Besides them, every Spector track featured a dozen or more musicians. The constant standouts were' drummer Hal Blaine, one of the most inventive and prolific in rock history, and saxophonist Steve Douglas. Finally, there were vast differences among Spector's complement of singers. An important part of Spector's genius stemmed from his ability to recruit, organize, and provide leadership within such a musical community. Darlene Love (who also recorded for Spector with the Crystals and Bob B. Soxx and the Blue Jeans) ranks just beneath Aretha Franklin among female rock singers, and "Christmas" is her greatest record, though it was never a hit. (The track probably achieved its greatest notice in the mid-eighties, when it was used over the opening credits of Joe Dante's film, Gremlins.) Spector's Wall of Sound, with its continuously thundering horns and strings, never seemed more massive than it does here.
    [Show full text]
  • 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.
    [Show full text]
  • Songs by Title Karaoke Night with the Patman
    Songs By Title Karaoke Night with the Patman Title Versions Title Versions 10 Years 3 Libras Wasteland SC Perfect Circle SI 10,000 Maniacs 3 Of Hearts Because The Night SC Love Is Enough SC Candy Everybody Wants DK 30 Seconds To Mars More Than This SC Kill SC These Are The Days SC 311 Trouble Me SC All Mixed Up SC 100 Proof Aged In Soul Don't Tread On Me SC Somebody's Been Sleeping SC Down SC 10CC Love Song SC I'm Not In Love DK You Wouldn't Believe SC Things We Do For Love SC 38 Special 112 Back Where You Belong SI Come See Me SC Caught Up In You SC Dance With Me SC Hold On Loosely AH It's Over Now SC If I'd Been The One SC Only You SC Rockin' Onto The Night SC Peaches And Cream SC Second Chance SC U Already Know SC Teacher, Teacher SC 12 Gauge Wild Eyed Southern Boys SC Dunkie Butt SC 3LW 1910 Fruitgum Co. No More (Baby I'm A Do Right) SC 1, 2, 3 Redlight SC 3T Simon Says DK Anything SC 1975 Tease Me SC The Sound SI 4 Non Blondes 2 Live Crew What's Up DK Doo Wah Diddy SC 4 P.M. Me So Horny SC Lay Down Your Love SC We Want Some Pussy SC Sukiyaki DK 2 Pac 4 Runner California Love (Original Version) SC Ripples SC Changes SC That Was Him SC Thugz Mansion SC 42nd Street 20 Fingers 42nd Street Song SC Short Dick Man SC We're In The Money SC 3 Doors Down 5 Seconds Of Summer Away From The Sun SC Amnesia SI Be Like That SC She Looks So Perfect SI Behind Those Eyes SC 5 Stairsteps Duck & Run SC Ooh Child SC Here By Me CB 50 Cent Here Without You CB Disco Inferno SC Kryptonite SC If I Can't SC Let Me Go SC In Da Club HT Live For Today SC P.I.M.P.
    [Show full text]
  • Aint Gonna Study War No More / Down by the Riverside
    The Danish Peace Academy 1 Holger Terp: Aint gonna study war no more Ain't gonna study war no more By Holger Terp American gospel, workers- and peace song. Author: Text: Unknown, after 1917. Music: John J. Nolan 1902. Alternative titles: “Ain' go'n' to study war no mo'”, “Ain't gonna grieve my Lord no more”, “Ain't Gwine to Study War No More”, “Down by de Ribberside”, “Down by the River”, “Down by the Riverside”, “Going to Pull My War-Clothes” and “Study war no more” A very old spiritual that was originally known as Study War No More. It started out as a song associated with the slaves’ struggle for freedom, but after the American Civil War (1861-65) it became a very high-spirited peace song for people who were fed up with fighting.1 And the folk singer Pete Seeger notes on the record “Waist Deep in the Big Muddy and Other Love Songs”, that: "'Down by the Riverside' is, of course, one of the oldest of the Negro spirituals, coming out of the South in the years following the Civil War."2 But is the song as we know it today really as old as it is claimed without any sources? The earliest printed version of “Ain't gonna study war no more” is from 1918; while the notes to the song were published in 1902 as music to a love song by John J. Nolan.3 1 http://myweb.tiscali.co.uk/grovemusic/spirituals,_hymns,_gospel_songs.htm 2 Thanks to Ulf Sandberg, Sweden, for the Pete Seeger quote.
    [Show full text]
  • The Big Bopper Died for Your Sins
    Concordia Seminary - Saint Louis Scholarly Resources from Concordia Seminary Master of Divinity Thesis Concordia Seminary Scholarship 3-1-1970 The iB g Bopper Died For Your Sins: A Study of the Function of Rock as a Form of Religious Expression inn the World of Youth John Metzig Concordia Seminary, St. Louis, [email protected] Follow this and additional works at: https://scholar.csl.edu/mdiv Part of the Practical Theology Commons Recommended Citation Metzig, John, "The iB g Bopper Died For Your Sins: A Study of the Function of Rock as a Form of Religious Expression inn the World of Youth" (1970). Master of Divinity Thesis. 101. https://scholar.csl.edu/mdiv/101 This Thesis is brought to you for free and open access by the Concordia Seminary Scholarship at Scholarly Resources from Concordia Seminary. It has been accepted for inclusion in Master of Divinity Thesis by an authorized administrator of Scholarly Resources from Concordia Seminary. For more information, please contact [email protected]. TABLE OF CONTENTS Content Page I. THE• INTRODUCTION 1 II. THE PAPER . 3 III. THE FOOTNOTES BIBLIOGRAPHY 34 INTRODUCTION I'm not trying to cause a big sensation I'm just ttitkirtg 'bout my generation. -Peter Townshend (for The Who) 1 The problem with trying to write a paper on the subject of rock is that the field is so diverse and varied that it is all but impossible to describe everything in complete detail. Furthermore, the entire subject of the effects of rock on a listening audience varies considerably from listener to listener. The teen-ager just likes, the sound of the music and the feelings that the music brings out in him, while the adult still thinks of rock as a lot of noise no matter how many magazine articles they read or TV programs they see.
    [Show full text]
  • In the Studio: the Role of Recording Techniques in Rock Music (2006)
    21 In the Studio: The Role of Recording Techniques in Rock Music (2006) John Covach I want this record to be perfect. Meticulously perfect. Steely Dan-perfect. -Dave Grohl, commencing work on the Foo Fighters 2002 record One by One When we speak of popular music, we should speak not of songs but rather; of recordings, which are created in the studio by musicians, engineers and producers who aim not only to capture good performances, but more, to create aesthetic objects. (Zak 200 I, xvi-xvii) In this "interlude" Jon Covach, Professor of Music at the Eastman School of Music, provides a clear introduction to the basic elements of recorded sound: ambience, which includes reverb and echo; equalization; and stereo placement He also describes a particularly useful means of visualizing and analyzing recordings. The student might begin by becoming sensitive to the three dimensions of height (frequency range), width (stereo placement) and depth (ambience), and from there go on to con­ sider other special effects. One way to analyze the music, then, is to work backward from the final product, to listen carefully and imagine how it was created by the engineer and producer. To illustrate this process, Covach provides analyses .of two songs created by famous producers in different eras: Steely Dan's "Josie" and Phil Spector's "Da Doo Ron Ron:' Records, tapes, and CDs are central to the history of rock music, and since the mid 1990s, digital downloading and file sharing have also become significant factors in how music gets from the artists to listeners. Live performance is also important, and some groups-such as the Grateful Dead, the Allman Brothers Band, and more recently Phish and Widespread Panic-have been more oriented toward performances that change from night to night than with authoritative versions of tunes that are produced in a recording studio.
    [Show full text]
  • Going up the Country
    Going up the country I'm going up the country, babe don't you wanna go (X2) Je monte au pays, chérie tu ne veux pas venir (X2) I'm going to some place where I've never been before Je vais vers un lieu où je n'étais jamais allé avant I'm going, I'm going where the water tastes like wine Je vais, je vais où l'eau à le goût de vin Well I'm going where the water tastes like wine Oui je vais où l'eau a le goût de vin We can jump in the water, stay drunk all the time On peut sauter à l'eau, restant saoûl tout le temps I'm gonna leave this city, got to get away (X2) Je vais quitter cette ville, m'en aller (X2) All this fussing and fighting, man, you know I sure can't stay Toutes ces emmerdes et bagarres, mec, tu sais j'peux pas rester Now baby, pack your leaving trunk, you know we've got to leave today Maintenant chérie, fais tes valises, tu vois on doit partir aujourd'hui Just exactly where we're going, I cannot say, but we might even leave the USA Exactement où nous allons, je peux pas le dire, mais on doit quitter les USA 'Cause there's a brand new game that I want to play Car y'a un nouveau jeu très marquant que je veux jouer No use of you running, or screaming and crying Ne cours pas, ne cries pas, ne pleures pas Cause you've got a home as long as I've got mine Parce que t'as une maison aussi longue que la mienne 1.biography Canned heat Canned Heat is a blues rock band that formed in Los Angeles, California in 1965.
    [Show full text]
  • Songs by Title
    16,341 (11-2020) (Title-Artist) Songs by Title 16,341 (11-2020) (Title-Artist) Title Artist Title Artist (I Wanna Be) Your Adams, Bryan (Medley) Little Ole Cuddy, Shawn Underwear Wine Drinker Me & (Medley) 70's Estefan, Gloria Welcome Home & 'Moment' (Part 3) Walk Right Back (Medley) Abba 2017 De Toppers, The (Medley) Maggie May Stewart, Rod (Medley) Are You Jackson, Alan & Hot Legs & Da Ya Washed In The Blood Think I'm Sexy & I'll Fly Away (Medley) Pure Love De Toppers, The (Medley) Beatles Darin, Bobby (Medley) Queen (Part De Toppers, The (Live Remix) 2) (Medley) Bohemian Queen (Medley) Rhythm Is Estefan, Gloria & Rhapsody & Killer Gonna Get You & 1- Miami Sound Queen & The March 2-3 Machine Of The Black Queen (Medley) Rick Astley De Toppers, The (Live) (Medley) Secrets Mud (Medley) Burning Survivor That You Keep & Cat Heart & Eye Of The Crept In & Tiger Feet Tiger (Down 3 (Medley) Stand By Wynette, Tammy Semitones) Your Man & D-I-V-O- (Medley) Charley English, Michael R-C-E Pride (Medley) Stars Stars On 45 (Medley) Elton John De Toppers, The Sisters (Andrews (Medley) Full Monty (Duets) Williams, Sisters) Robbie & Tom Jones (Medley) Tainted Pussycat Dolls (Medley) Generation Dalida Love + Where Did 78 (French) Our Love Go (Medley) George De Toppers, The (Medley) Teddy Bear Richard, Cliff Michael, Wham (Live) & Too Much (Medley) Give Me Benson, George (Medley) Trini Lopez De Toppers, The The Night & Never (Live) Give Up On A Good (Medley) We Love De Toppers, The Thing The 90 S (Medley) Gold & Only Spandau Ballet (Medley) Y.M.C.A.
    [Show full text]
  • Southern Music and the Seamier Side of the Rural South Cecil Kirk Hutson Iowa State University
    Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 1995 The ad rker side of Dixie: southern music and the seamier side of the rural South Cecil Kirk Hutson Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the Folklore Commons, Music Commons, Social and Cultural Anthropology Commons, and the United States History Commons Recommended Citation Hutson, Cecil Kirk, "The ad rker side of Dixie: southern music and the seamier side of the rural South " (1995). Retrospective Theses and Dissertations. 10912. https://lib.dr.iastate.edu/rtd/10912 This Dissertation is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthiough, substandard margins, and improper alignment can adversely affect reproductioiL In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion.
    [Show full text]
  • Table of Contents
    1 •••I I Table of Contents Freebies! 3 Rock 55 New Spring Titles 3 R&B it Rap * Dance 59 Women's Spirituality * New Age 12 Gospel 60 Recovery 24 Blues 61 Women's Music *• Feminist Music 25 Jazz 62 Comedy 37 Classical 63 Ladyslipper Top 40 37 Spoken 65 African 38 Babyslipper Catalog 66 Arabic * Middle Eastern 39 "Mehn's Music' 70 Asian 39 Videos 72 Celtic * British Isles 40 Kids'Videos 76 European 43 Songbooks, Posters 77 Latin American _ 43 Jewelry, Books 78 Native American 44 Cards, T-Shirts 80 Jewish 46 Ordering Information 84 Reggae 47 Donor Discount Club 84 Country 48 Order Blank 85 Folk * Traditional 49 Artist Index 86 Art exhibit at Horace Williams House spurs bride to change reception plans By Jennifer Brett FROM OUR "CONTROVERSIAL- SUffWriter COVER ARTIST, When Julie Wyne became engaged, she and her fiance planned to hold (heir SUDIE RAKUSIN wedding reception at the historic Horace Williams House on Rosemary Street. The Sabbats Series Notecards sOk But a controversial art exhibit dis­ A spectacular set of 8 color notecards^^ played in the house prompted Wyne to reproductions of original oil paintings by Sudie change her plans and move the Feb. IS Rakusin. Each personifies one Sabbat and holds the reception to the Siena Hotel. symbols, phase of the moon, the feeling of the season, The exhibit, by Hillsborough artist what is growing and being harvested...against a Sudie Rakusin, includes paintings of background color of the corresponding chakra. The 8 scantily clad and bare-breasted women. Sabbats are Winter Solstice, Candelmas, Spring "I have no problem with the gallery Equinox, Beltane/May Eve, Summer Solstice, showing the paintings," Wyne told The Lammas, Autumn Equinox, and Hallomas.
    [Show full text]
  • Dennis Locorriere the Unique Voice of Dr. Hook Hits and History Tour Live Mp3, Flac, Wma
    Dennis Locorriere The Unique Voice Of Dr. Hook Hits And History Tour Live mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: The Unique Voice Of Dr. Hook Hits And History Tour Live Country: Europe Released: 2007 MP3 version RAR size: 1979 mb FLAC version RAR size: 1716 mb WMA version RAR size: 1114 mb Rating: 4.9 Votes: 278 Other Formats: TTA MPC AC3 ASF AAC MP3 DTS Tracklist Hide Credits Walk Right In 1 Written-By – Cannon*, Woods* Sharing The Night Together 2 Written-By – Aldridge*, Struzick* I Don't Want To Be Alone Tonight 3 Written-By – Silverstein* Better Love Next Time 4 Written-By – Slate*, Keith*, Pippin* Baby Makes Her Blue Jeans Talk 5 Written-By – Locorriere*, Haffkine*, Weedman* The Millionaire 6 Written-By – Tracy* More Like The Movies 7 Written-By – Silverstein* If Not You 8 Written-By – Locorriere* Sexy Eyes 9 Written-By – Waters*, Stegall*, Mather* You Make My Pants Want To Get Up And Dance 10 Written-By – Weedman* The Ballad Of Lucy Jordan 11 Written-By – Silverstein* Only Sixteen 12 Written-By – Cooke* A Couple More Years 13 Written-By – Locorriere*, Silverstein* Freakin' At The Freaker's Ball 14 Written-By – Silverstein* Sleeping Late 15 Written-By – D. Morrison*, S. Morrison* When You're In Love With A Beautiful Woman 16 Written-By – Stevens* A Little Bit More 17 Written-By – Gosh* Hearts (Like Yours And Mine) 18 Written-By – Locorriere* The Cover Of The Rolling Stone 19 Written-By – Silverstein* Sylvia's Mother 20 Written-By – Silverstein* Queen Of The Silver Dollar 21 Written-By – Silverstein* Years From
    [Show full text]