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I Can Hear Music
5 I CAN HEAR MUSIC 1969–1970 “Aquarius,” “Let the Sunshine In” » The 5th Dimension “Crimson and Clover” » Tommy James and the Shondells “Get Back,” “Come Together” » The Beatles “Honky Tonk Women” » Rolling Stones “Everyday People” » Sly and the Family Stone “Proud Mary,” “Born on the Bayou,” “Bad Moon Rising,” “Green River,” “Traveling Band” » Creedence Clearwater Revival “In-a-Gadda-Da-Vida” » Iron Butterfly “Mama Told Me Not to Come” » Three Dog Night “All Right Now” » Free “Evil Ways” » Santanaproof “Ride Captain Ride” » Blues Image Songs! The entire Gainesville music scene was built around songs: Top Forty songs on the radio, songs on albums, original songs performed on stage by bands and other musical ensembles. The late sixties was a golden age of rock and pop music and the rise of the rock band as a musical entity. As the counterculture marched for equal rights and against the war in Vietnam, a sonic revolution was occurring in the recording studio and on the concert stage. New sounds were being created through multitrack recording techniques, and record producers such as Phil Spector and George Martin became integral parts of the creative process. Musicians expanded their sonic palette by experimenting with the sounds of sitar, and through sound-modifying electronic ef- fects such as the wah-wah pedal, fuzz tone, and the Echoplex tape-de- lay unit, as well as a variety of new electronic keyboard instruments and synthesizers. The sound of every musical instrument contributed toward the overall sound of a performance or recording, and bands were begin- ning to expand beyond the core of drums, bass, and a couple guitars. -
Visit Hunter/Tannersville!
Catskill Mountain Region AUGUST 2018 COMPLIMENTARY GUIDE catskillregionguide.com SPECIAL SECTION: VISIT HUNTER/TANNERSVILLE! August 2018 • GUIDE 1 TABLE OF www.catskillregionguide.com CONTENTS VOLUME 33, NUMBER 8 August 2018 PUBLISHERS Peter Finn, Chairman, Catskill Mountain Foundation Sarah Finn, President, Catskill Mountain Foundation EDITORIAL DIRECTOR, CATSKILL MOUNTAIN FOUNDATION Sarah Taft ADVERTISING SALES Rita Adami, Barbara Cobb Steve Friedman CONTRIBUTING WRITERS Anne Donovan, Stephanie Goff, Harry G. Jameson III, Heather Rolland, Jeff Senterman & Robert Tomlinson ADMINISTRATION & FINANCE Candy McKee Justin McGowan & Isabel Cunha PRINTING Catskill Mountain Printing Services DISTRIBUTION Catskill Mountain Foundation On the cover: Sam’s Point Trail in Ellenville, Ulster County. Photo courtesy of Ulster County Tourism EDITORIAL DEADLINE FOR NEXT ISSUE: August 10 The Catskill Mountain Region Guide is published 12 times a year by the Catskill Mountain Foundation, Inc., Main Street, PO Box 4 THE ARTS 924, Hunter, NY 12442. If you have events or programs that you would like to have covered, please send them by e-mail to tafts@ catskillmtn.org. Please be sure to furnish a contact name and in- 8 SECOND ANNUAL WOMEN’S EXPO AT ST. THERESA’S clude your address, telephone, fax, and e-mail information on all correspondence. For editorial and photo submission guidelines IN WINDHAM THIS AUGUST By Anne Donovan & Stephanie Goff send a request via e-mail to [email protected]. The liability of the publisher for any error for which it may be held legally responsible will not exceed the cost of space ordered FALLA! Two Masterpieces by the Great Spanish Composer or occupied by the error. -
Donovan 2012.Pdf
PERFORMERS PARKE PUTERBAUGH NOT DUST POP LYRICS BUT MODERN POETRY The view o f the sixties is so generalized it’s good to open up the of the Witch”), and the Allman Brothers Band (whose spirituality o f it and what the music was trying to represent. “Mountain Jam” was based on Donovan’s “There Is a It was certainly not just getting stoned and hanging out, man. Mountain”). Beyond all that, he was a gentle spirit who There was meaning and direction; there was substance to it. sang unforgettably of peace, love, enlightenment, wild —Donovan scenes, and magical visions. Born Donovan Leitch in Glasgow, Scotland, in onovan was the Pied Piper of the counterculture. 1946, he moved at age 10 with his family to Hatfield, A sensitive Celtic folk-poet with an adventurous Hertfordshire, England. After turning 1 6, he pursued a musical mind, he was a key figure on the British romantic wanderlust, running off to roam alongside Beat Dscene during its creative explosion in the mid-sixties. He and bohemian circles. He also studiously applied himself wrote and recorded some of the decade’s most memorable to the guitar, learning a sizable repertoire of folk and blues songs, including “Catch the Wind,” “Sunshine Superman,” songs, with the requisite fingerings. A single appearance “Hurdy Gurdy Man,” and “Atlantis.” He charted a dozen during a performance by some friends’ R & B band resulted Top Forty hits in the U.S. and a nearly equal number in the in an offer for Donovan to cut demos in London, which led U.K. -
Trinity Hi-Lites
Trinity Hi-Lites Trinity is about to enter “summer mode”. We adjourn our usual 9:00 a.m. Sunday school classes for children but the adult Bible study in the lounge and the social room continue with their 9:00 a.m. meeting time. Worship time remains 10:15 a.m. year-round. Most committees take a break from meeting and many families in our congregation will take their family vacations. Some folks will not venture very far from home this year while others will drive longer distances to take the trip to see relatives or to take the annual beach vacation. In general, the pace of living slows down from the usual sprint to a brisk walk. I hope you find refreshment and re-creation this summer. I hope you take the time to enjoy the weather, to relish the joy of time with loved ones, and to read that list of books you put off for too long. I also hope that, with much of the clutter of “busyness” gone, we all will become more conscious of God’s presence and blessing in our daily lives. Take more time than usual for prayer. Read that devotional literature you set aside for later. Spend time with the Psalms and pray them daily. Begin your intentional reading of one of the gospels. Sabbath is a Jewish tradition Christianity inherited but contemporary culture does not integrate into our life-style. Sabbath was the practice of putting all else aside for a while each week to focus solely on our relationship with God and the gifts God bestows upon us. -
To Elektra EKL-264 Mono / EKS-7264 Stereo "The BLUES Project"
DAVE RAY: Dave "Snaker" Ray, whose ambition is to be a doctor, started playing guitar while a sophomore in high school. He origin ally began with blues (Leadbelly) to keep his fingers nimble fo r what he thought would be a classical-flamenco guitarist career. "After an adagio by Sor and a hacked-up Farruca, I began playing Led better's stuff exclusively, " Dave reports. He began playing the 12-string guitar when a senior in high school, and lists as early influences, Elvis' Sun label recordings, Bo Diddley, Muddy Waters, early Chicago, and, of course, Leadbelly. " I sing the blues because it's a medium not as demanding as literatu re or serious music, and free enough to permit a total statement of personality and. self, " Dave states. "I play blues because 1 feel it's important to me to express myself and because I feel it's a significant form of music which hasn't had enough dispersement. As far as white men playing blues, that's all who do play blues. the new Negroes are too busy (doing other things). " Discography: Blues, Rags and Hollers (Elektra EKL 240). Dave Ray may soon be heard, with John Koerner and Tony Glover, on Elektra EKL 267. ERIC VON SCHMIDT: E ric w rites: "B orn 1931; began singing in 1948; first influences were Leadbelly, Josh White and Jelly Roll Morton — then Library of Congress material and field recordings. Worked as magazine illustrator, then painter until 1952... two years in the army, and then to Florida, where I worked as a frame-maker and built a 27-foot ketch which was almost called the 'John Hurt'. -
Of ABBA 1 ABBA 1
Music the best of ABBA 1 ABBA 1. Waterloo (2:45) 7. Knowing Me, Knowing You (4:04) 2. S.O.S. (3:24) 8. The Name Of The Game (4:01) 3. I Do, I Do, I Do, I Do, I Do (3:17) 9. Take A Chance On Me (4:06) 4. Mamma Mia (3:34) 10. Chiquitita (5:29) 5. Fernando (4:15) 11. The Winner Takes It All (4:54) 6. Dancing Queen (3:53) Ad Vielle Que Pourra 2 Ad Vielle Que Pourra 1. Schottische du Stoc… (4:22) 7. Suite de Gavottes E… (4:38) 13. La Malfaissante (4:29) 2. Malloz ar Barz Koz … (3:12) 8. Bourrée Dans le Jar… (5:38) 3. Chupad Melen / Ha… (3:16) 9. Polkas Ratées (3:14) 4. L'Agacante / Valse … (5:03) 10. Valse des Coquelic… (1:44) 5. La Pucelle d'Ussel (2:42) 11. Fillettes des Campa… (2:37) 6. Les Filles de France (5:58) 12. An Dro Pitaouer / A… (5:22) Saint Hubert 3 The Agnostic Mountain Gospel Choir 1. Saint Hubert (2:39) 7. They Can Make It Rain Bombs (4:36) 2. Cool Drink Of Water (4:59) 8. Heart’s Not In It (4:09) 3. Motherless Child (2:56) 9. One Sin (2:25) 4. Don’t We All (3:54) 10. Fourteen Faces (2:45) 5. Stop And Listen (3:28) 11. Rolling Home (3:13) 6. Neighbourhood Butcher (3:22) Onze Danses Pour Combattre La Migraine. 4 Aksak Maboul 1. Mecredi Matin (0:22) 7. -
E S349s Bob Dylan
E s349S l Bob Dylan Instructor: Doherty, Brian Areas: Roman Numeral I–VI Unique #: 83748 Flags: Flag Name(s) Semester: Summer 2013 Restrictions: Honors, Longhorn Scholars, etc. Cross-lists: XXX ### Computer Instruction: Y/N Prerequisites: Six semester hours of upper-division coursework in English. Description: The New Criticism in literary studies propounded that it is the text alone which needs to be explored by the critic— biography, history, geography, anything outside of the text is irrelevant to criticism. While we will do quite a bit of close reading of Dylan’s songs (poems) this will not be a course fueled by the New Criticism. Dylan is emblematic of his times, of the folk tradition, of the era of rock music, of the legions of singer-songwriters who followed. He is influential to scores of artists, and was influenced by scores of artists. We will take much of this into consideration as we explore Bob Dylan, the artist, Bob Dylan, the Mythic Figure of American culture. Bob Dylan the musician. Texts: Dylan, Bob. Chronicles, Volume One. Marcus, Griel. Like a Rolling Stone Other Readings will be made available in a course reader, posted as links to online articles, or as pdf files. Requirements & Grading: Quizzes. Best 5 of 7 for grade. 10% Test on Dylan, his Times and Influences 20% Book Report on assigned Book 10% Portfolio on your assigned song. 15% Participation in discussion on blog or blackboard. 15% Formal Analytical Paper on Dylan and his work, or Analytical Reading/observation journal on your Dylan class life 30% Attendance in Class is required. -
1 Bob Dylan's American Journey, 1956-1966 September 29, 2006, Through January 6, 2007 Exhibition Labels Exhibit Introductory P
Bob Dylan’s American Journey, 1956-1966 September 29, 2006, through January 6, 2007 Exhibition Labels Exhibit Introductory Panel I Think I’ll Call It America Born into changing times, Bob Dylan shaped history in song. “Life’s a voyage that’s homeward bound.” So wrote Herman Melville, author of the great tall tale Moby Dick and one of the American mythmakers whose legacy Bob Dylan furthers. Like other great artists this democracy has produced, Dylan has come to represent the very historical moment that formed him. Though he calls himself a humble song and dance man, Dylan has done more to define American creative expression than anyone else in the past half-century, forming a new poetics from his emblematic journey. A small town boy with a wandering soul, Dylan was born into a post-war landscape of possibility and dread, a culture ripe for a new mythology. Learning his craft, he traveled a road that connected the civil rights movement to the 1960s counterculture and the revival of American folk music to the creation of the iconic rock star. His songs reflected these developments and, resonating, also affected change. Bob Dylan, 1962 Photo courtesy of John Cohen Section 1: Hibbing Red Iron Town Bobby Zimmerman was a typical 1950’s kid, growing up on Elvis and television. Northern Minnesota seems an unlikely place to produce an icon of popular music—it’s leagues away from music birthplaces like Memphis and New Orleans, and seems as cold and characterless as the South seems mysterious. Yet growing up in the small town of Hibbing, Bob Dylan discovered his musical heritage through radio stations transmitting blues and country from all over, and formed his own bands to practice the newfound religion of rock ‘n’ roll. -
“Statesboro Blues”—Blind Willie Mctell (1928) Added to the National Registry: 2015 Essay by Brian Bader
“Statesboro Blues”—Blind Willie McTell (1928) Added to the National Registry: 2015 Essay by Brian Bader Blind Willie McTell Blind Willie McTell was born May 5, 1901 in Thomson, Georgia. Though there is some uncertainty about his birth year, his comparatively long life (he died on Aug. 19, 1959, in Milledgeville, Georgia), his prolific recording career, the memories of numerous acquaintances, and McTell’s own recorded reminiscences, allow for a full picture of his life. His skillful fingerpicking guitar style ranks high with the playing of other acoustic blues artists, both blind (Blind Boy Fuller, Blind Blake, Reverend Gary Davis) and sighted (Josh White, Brownie McGhee). Hard to categorize, McTell embodied Piedmont blues, as well as ragtime, and gospel/spiritual/religious music, and may best be described as a mid-twentieth century American songster. One of his tunes--“covered,” or more accurately freely adapted, in a powerful electric blues rendition by the Allman Brothers Band-- is his legacy. This number most familiar to modern blues and rock fans: “Statesboro Blues.” Recorded by McTell and self-accompanied on twelve- string guitar in 1928 for Victor records, it showcases his distinctive voice and his talented guitar playing. The Allman Brothers later credited their cover of the song to “Will McTell” on their live two-record album “At Filmore East” released in 1971 on Capricorn Records. Guitarists Duane Allman (using a slide) and Dickey Betts cut loose with their trademark twin lead guitar line up in a memorable reading as a jumping blues shuffle. In an analysis of the history of “Statesboro Blues,” however, it is important to note that between the McTell recording and the Allman Brothers, there is a version from 1968 by Taj Mahal on his debut album. -
Liorm W FOLK
TOOTS THIELEMANS: Contrasts. Jean (Toots) Thielemans, harmonica and guitar; orchestra, Don Sebeksy or Jack liorm Andrews, arr. and cond. Makin' FOLK nine w Whoopee; Big Boy; Bluecette; HI -FI more. Command O RS 33 -906, $4.79; MICHEAL MacLIAMMOIR: I Must Be RS 906SD, $5.79. Talking To My Friends. Argo © RG COMPONENTS Almost without question, the most ac- 493, $5.79 (mono only). complished harmonica player in the Here is an honest -to -God tour de force. world today is not Larry Adler but a Bel- Michell MacLiammóir, something of a TAPE gian virtuoso named Jean (Toots) Renaissance man in that he writes, stage Thielemans. Thielemans has turned the designs, and acts with impeccable skill, RECORDERS instrument into a genuine musical instru- has already served Oscar Wilde and his TAPES, ACCESSORIES ment, something Adler never quite ac- works to perfection on discs. Here he complished. He plays by a technique of presents a one -man entertainment that SLEEP LEARN KITS puckering as if he were about to whistle, is far more than an hour's elocution. A blowing (or sucking) through each in- consummately witty and informative nar- MERITAPE dividual hole of the instrument, and ration links together poems from Yeats, working the button by which the instru- excerpts from Joyce and Shaw, the last ment is shifted a half -step upward with speech of Robert Emmet, and material MONEY astonishing cleanliness and facility. By culled from Ireland's long and tragic SAVE varying the pressure of wind, which of history into a glowing tapestry that seems course activates the little metal reed to capture the quintessence of that su- LOWEST PRICES that creates each note of the harmonica, premely colorful country. -
Woody Guthrie Annual
Woody Guthrie Annual Volume 1 (2015) ! ! Notes on Contributors ! ! Ray Allen is Professor of Music and American Studies at Brooklyn College, CUNY, and co-editor of the on-line journal American Music Review. He has written extensively on American folk and popular music, including his most recent book, Gone to the Country: The New Lost City Ramblers and the Folk Music Revival (University of Illinois Press). He is currently working on a book !tentatively titled Jump Up!: Caribbean Carnival Music in Brooklyn. Emily Baxter researches issues and policy surrounding women’s economic security at the Center for American Progress. She holds a masters of science in gender from the London School of Economics and Political science, and her academic work has focused on discourses of power at the intersection of !gender, religion, and politics, especially in the lives of American Catholic nuns. Jodie Childers is a New York-based writer and documentary filmmaker. Her research and creative work are primarily concerned with 20th-century American dissidence as expressed through cultural production. She has published and presented papers on leftist literature of the 1920’s and 30’s; radical, experimental, and outsider art; independent and documentary film; and folk, punk, and heavy metal music. She wrote and produced The Other Parade (on the LGBT activist Brendan Fay), and she is currently co-directing a documentary film about Pete Seeger’s environmental legacy. Her creative writing and photography have been published in Feral Feminisms, Eleven !Eleven, Poetry East, and the Portland Review as well as other literary journals. Thomas Conner has been an arts journalist and editor for more than twenty years, most recently as the pop music critic at the Chicago Sun-Times. -
Ebook Download Blues and Ragtime Fingerstyle Guitar by Dave Van Ronk
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