DOCSLIB.ORG

Playlist Rock Classique 15 Janvier 2021

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Animateurs : Alain Lefebvre Émission #1175 Date : 15 janvier 2021 Heure : 11:00 à 17:00 Baladodiffusion : https://archive.org/details/rock-classique-15-janvier-2021-complete Vendredi 15 janvier 2021 Le trois pour un Rock Classique! Pour la première émission de l’année 2021 Alain Lefebvre vous présentera le fameux « 3 pour 1 Rock Classique » qui, comme toujours, s’avèrera des plus éclaté et éclectique avec des artistes et groupes tels: Rush, Alice Cooper, King Crimson, King Gizzard and the Lizard Wizard, Judas Priest, le Alan Parsons Project, Steely Dan, Dio, Mercyful Fate, AC/DC, Slayer, Iron Maiden et KISS. Alain fera aussi tourner une face complète d’un album vinyle classique soit le 2 ième de Uriah Heep, Salisbury , qui est sorti il y a exactement 50 ans ce mois-ci et il vous présentera la Chronique des groupes obscurs avec une formation américaine du début des années ’70 qui portait le nom de Alamo, en plus de vous parler du nouvel album de Blackfield. Encore une fois, un authentique et véritable plaisir pour les vrais amateurs de vrai ROCK!!! Rock Classique , ce vendredi de 11h00 à 17h00, en reprise lundi de 12h00 à 18h00. Canevas Rock Classique 15 janvier 2021 (émission #1175) Artiste/groupe Titre de la pièce Album et année de sortie 1 The Beatles The Word Rubber Soul (1965) 2 Deodato Also Sprach Zarathustra (2001) Prelude (1972) 3 Alamo Got to Find Another Way Alamo (1971) 4 Alamo Question Raised Alamo (1971) 5 Alamo Soft and Gentle Alamo (1971) 6 Uriah Heep Simon the Bullet Freak Salisbury (U.S. version 1971) 7 Uriah Heep Salisbury Salisbury (U.S. version 1971) 8 Uriah Heep Bird of Prey Salisbury (U.K. version 1971) 9 Jethro Tull Wond’ring Again Living in the Past (1972) 10 Jethro Tull A New Day Yesterday Stand Up! (1969) 11 Jethro Tull Hymn 43 Aqualung (1971) 12 Allman Bros Band Sailin’ ‘Cross the Devil’s Sea Where It All Begins (1994) 13 Allman Bros Band Pegasus Enlightened Rogues (1978) 14 Allman Bros Band Whipping Post Play All Night : Live at the Beacon Theater (2014) 15 Jimi Hendrix My Friend Cry of Love (1971) 16 Jimi Hendrix Earth Blues Rainbow Bridge (1971) 17 Jimi Hendrix Stepping Stone First Rays of the New Rising Sun (1997) 18 Pink Floyd Lucy Leave Box Set (2016) 19 Pink Floyd Matilda Mother Piper at the Gates of Dawn (1967) 20 Pink Floyd Candy and a Currant Bun Masters of Rock (1974) 21 The Rolling Stones I Got the Blues Sticky Fingers (1971) 22 The Rolling Stones Bitch Sticky Fingers (1971) 23 The Rolling Stones Rip This Joint Exile On Main Street (1972) 24 Paul McCartney Slidin’ McCartney III (2020) 25 Paul McCartney & Wings Junior’s Farm 45 tours (1974) 26 Paul McCartney Maybe I’m Amazed McCartney (1970) 27 Blackfield Over and Over For the Music (2020) 28 Blackfield Blood Welcome to My DNA (2011) 29 Blackfield This Killer Blackfield II (2007) 30 Genesis A Trick of the Tail A Trick of the Tail (1976) 31 Genesis Snowbound And Then There Were Three… (1978) 32 Genesis Can-Utility and the Coastliners Foxtrot (1972) 33 King Crimson Epitaph In the Court of the Crimson King (1969) 34 King Crimson Cat Food In the Wake of Poseidon (1970) 35 King Crimson One More Red Nightmare Red (1974) 36 King Gizzard & the Wizard Lizard Some of Us K.G. (2020) 37 King Gizzard & the Wizard Lizard Ontology K.G. (2020) 38 King Gizzard & the Wizard Lizard The River Live in San Francisco ’16 (2020) 39 Rush Something For Nothing 2112 (1976) 40 Rush Lakeside Park All the World’s a Stage (1976) 41 Rush Different Strings Permanent Waves (1980) 42 Alice Cooper Second Coming Love It to Death (1970) 43 Alice Cooper The Ballad of Dwight Fry Love It to Death (1970) 44 Alice Cooper My Stars School’s Out (1972) 45 The Alan Parsons Project I Robot I Robot (1977) 46 The Alan Parsons Project I Wouldn’t Want To Be Like You I Robot (1977) 47 The Alan Parsons Project Can’t Take It With You Pyramid (1978) 48 Steely Dan F.M. F.M. (1978) 49 Steely Dan Don’t Take Me Alive Royal Scam (1976) 50 Steely Dan Bodhisattva Countdown to Ecstasy (1973) 51 Rainbow Tarot Woman Rising (1976) 52 Black Sabbath Turn Up the Night The Mob Rules (1981) 53 Dio The Mob Rules Angry Machines (2020 reissue with bonus tracks) 54 Judas Priest Rock Forever Unleashed in the East (2005 réédition avec pièces en bonus) 55 Judas Priest Saints in Hell Stained Class (1978) 56 Judas Priest Hell Bent For Leather Hell Bent For Leather (1979) 57 AC/DC Go Down Let There Be Rock (1977) 58 AC/DC Whole Lotta Rosie If You Want Blood… (1978) 59 AC/DC Demon Fire PWR/UP (2020) 60 Kiss Shock Me Love Gun (1977) 61 Kiss I Stole Your Love Alive II (1977) 62 Kiss I Just Wanna Revenge (1992) 63 Iron Maiden Sea of Madness Somewhere in Time (1986) 64 Iron Maiden The Clairvoyant Seventh Son of a Seventh Son (1988) 65 Iron Maiden Hallowed Be Thy Name Night of the Dead, Legacy of the Beast (2020) 66 Mercyful Fate A Corpse Without Soul Nuns Have No Fun (1982) 67 Mercyful Fate Satan’s Fall Melissa (1983) 68 Mercyful Fate The Uninvited Guest Into the Unknown (1996) 69 Slayer The Antichrist Show No Mercy (1983) 70 Slayer Hallowed Point Seasons in the Abyss (1989) 71 Slayer Chemical Warfare The Repentless Killogy (2019) .
Recommended publications
  • English: J KARAOKE CATALOGUE: J Artist Song Title J Balvin & Willy William Mi Gente (ES-FR) [Duet] J

    English: J KARAOKE CATALOGUE: J Artist Song Title J Balvin & Willy William Mi Gente (ES-FR) [Duet] J

    C K A A T R A A L O O K G E U E Songs in English: J KARAOKE CATALOGUE: J Artist Song Title J Balvin & Willy William Mi Gente (ES-FR) [Duet] J. Cole Who Dat J. Cole ft Miguel Power Trip J. D. Crowe & The New South Old Home Place J. Geils Band Centerfold J. Geils Band Freeze Frame J. Geils Band Give It to Me J. Geils Band I Do J. Geils Band Love Stinks J. Holiday Suffocate J. J. Barrie No Charge J. J. Fad Supersonic Jace Everett Bad Things Jack & Jack Right Where You Are Jack Black School of Rock Jack Garratt Breathe Life Jack Greene There Goes My Everything Jack Ingram Barbie Doll Jack Ingram Barefoot and Crazy Jack Ingram Flutter Jack Ingram Free Jack Ingram How Many Days Jack Ingram Love You Jack Ingram Maybe She'll Get Lonely Jack Ingram Wherever You Are Jack Johnson Better Together Jack Johnson Flake Jack Johnson Good People Jack Johnson If I Had Eyes Jack Johnson Radiate Jack Johnson Sitting Waiting Wishing Jack Johnson Upside Down Jack Jones A Day in the Life of a Fool Jack Jones Impossible Dream Jack Jones Lady Jack Jones Love Boat Jack Jones The Impossible Dream Jack Jones Wives and Lovers Jack Penate Second, Minute or Hour Jack Penate Torn on the Platform Jack Pentane Be the One Jack Savoretti Candlelight KARAOKE CATALOGUE: J 04/11/2020 Page 1 of 47 KARAOKE CATALOGUE: J Artist Song Title Jack Savoretti Catapult Jack Savoretti Home Jack Savoretti I'm Yours Jack Savoretti What More Can I Do Jack Savoretti Whiskey Tango Jack Savoretti Written in Scars Jack Savoretti Youth and Love Jack Scott My True Love Jack Scott What in the World's
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate

    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate

    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
  • The BG News April 20, 1990

    The BG News April 20, 1990

    Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 4-20-1990 The BG News April 20, 1990 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News April 20, 1990" (1990). BG News (Student Newspaper). 5076. https://scholarworks.bgsu.edu/bg-news/5076 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. ARTS IN APRIL BG NETTERS VICTORIOUS International and ethnic Falcons prevail 6-3 artworks presented Friday Mag ^ over tough Wooster club Sports The Nation *s Best College Newspaper Friday Weather Vol.72 Issue 116 April 20,1990 Bowling Green, Ohio High 67* The BG News Low 49° BRIEFLY Hostage release postponed Erosion In Damascus. Syrian Foreign Minis- by Rodeina Kenaan "The United States ter Farouk al-Sharaa said his govern- Associated Press writer ment has "been exerting a great deal of of ozone CAMPUS does not knuckle under influence" to secure the hostage BEIRUT, Lebanon — Pro-Iranian to demands." release by Sunday. He would not elab- Beta rescheduled: The 27th kidnappers said Thursday they post- -George Bush, orate. layers annual Beta 500 race has been poned indefinitely the release of an President Bush said the United rescheduled for this Sunday at noon. American hostage because the United CJ.S.
  • Charris Efthimiou Metallica's Tone Colour Characteristics of Their Riffs

    Charris Efthimiou Metallica's Tone Colour Characteristics of Their Riffs

    Charris Efthimiou Metallica’s Tone Colour Characteristics of their Riffs (1983–1986) and the Differences between Slayer and the New Wave of British Heavy Metal Annotation The aim of this article is to consider the design of the riffs of Angel of Death and other songs from the first three albums by Slayer (Show No Mercy 1983, Hell Awaits 1985 and Reign in Blood 1986) from a music analytical point of view (including tone-colour analysis of the riffs). If Slayer’s riff design (from 1983 to 1986) is considered from an overall perspective, the following results can be observed: • A rapid tempo and a constant change in the tone-colours of the guitar (palm mute, powerchords and monophonic melodies) characterise the sound of most riffs from the first three albums of this band. • Although the number of tone colours is limited, exact repetitions of tone colours are avoided. • Melodies in thirds, sixths and octaves are rare. At the same time (1983–1986) and in the same geographic area (U.S. West Coast), the band Metallica found their own compositional path within the thrash metal genre. Although the two bands dedicate their songs to very different topics, there are significant proximity points in the section of riff design. The same music-analytical methods (such as the analysis of tone- colours) are used with Metallica again. Thus, on the one hand, correlations can be determined and special features unique with Slayer’s music can be highlighted on the other. Furthermore, in order to determine other similarities and differences, the riffs of Metallica and Slayer will be compared with riffs by bands belonging to the NWoBHM (New Wave of British Heavy Metal) and were active in the years 1983–1986 (including Iron Maiden and Motörhead).
  • 'Judas Priest-On Tour' Violators Attacked

    'Judas Priest-On Tour' Violators Attacked

    MARCH 18, 1978 VOL. 1, NO. 1 Benefiting FREE San Antonio For Your Austin• Houston Entertainment ~ 'Judas Priest-On Tour' JC 35296 The high priest of heavy rock 'n' roll with their inimitable style grace our shores once again. To change or not to change. That is what a rock and roll band must deal with. A group may develop a success­ ful formula for its music, which leads to personal and/ or commercial contentment. Musicians, upon reach­ ing this point, find their music evolving in a new direction or continuing their successful format. Judas Priest has choosen the security of proven success. Their first two ViolatorsAttacked domestic albums were well See story on page 10 received in this area. With the release of a new album "Stained Class" and • Elvis Costello an upcoming concert March INSIDETHIS • Radio Survey 24 their claim to fame is • Trivia Quiz sound. ISSUE! .-HELLO IT'SUS- / Welcome to It's Onlu Rock and , Muhammad Ali, chicken fried steak, Roll. What are you being welcomed cars with dead batteries, Rocky Hor­ to anyway? ror Picture Show and working over­ It's Only Rock and Roll is a time to afford concert tickets and newspaper/magazine of sorts put out vinyl habits. by a few people who know and love Sound comp'iicated, si1ly, insane, music and believe it's time for a unclear? It is all that and more. semi-intelligent, semi-informed rag Best of all it's fun and we' 11 attanpt about music on the local scene. to write about it: show pictures of Because no one is adequately it and make a meager living from it filling the music news and informa­ as long as it stays complicated, tion void in San Antonio, we decided silly, insane, unclear and fun.
  • Download This List As PDF Here

    Download This List As PDF Here

    QuadraphonicQuad Multichannel Engineers of 5.1 SACD, DVD-Audio and Blu-Ray Surround Discs JULY 2021 UPDATED 2021-7-16 Engineer Year Artist Title Format Notes 5.1 Production Live… Greetins From The Flow Dishwalla Services, State Abraham, Josh 2003 Staind 14 Shades of Grey DVD-A with Ryan Williams Acquah, Ebby Depeche Mode 101 Live SACD Ahern, Brian 2003 Emmylou Harris Producer’s Cut DVD-A Ainlay, Chuck David Alan David Alan DVD-A Ainlay, Chuck 2005 Dire Straits Brothers In Arms DVD-A DualDisc/SACD Ainlay, Chuck Dire Straits Alchemy Live DVD/BD-V Ainlay, Chuck Everclear So Much for the Afterglow DVD-A Ainlay, Chuck George Strait One Step at a Time DTS CD Ainlay, Chuck George Strait Honkytonkville DVD-A/SACD Ainlay, Chuck 2005 Mark Knopfler Sailing To Philadelphia DVD-A DualDisc Ainlay, Chuck 2005 Mark Knopfler Shangri La DVD-A DualDisc/SACD Ainlay, Chuck Mavericks, The Trampoline DTS CD Ainlay, Chuck Olivia Newton John Back With a Heart DTS CD Ainlay, Chuck Pacific Coast Highway Pacific Coast Highway DTS CD Ainlay, Chuck Peter Frampton Frampton Comes Alive! DVD-A/SACD Ainlay, Chuck Trisha Yearwood Where Your Road Leads DTS CD Ainlay, Chuck Vince Gill High Lonesome Sound DTS CD/DVD-A/SACD Anderson, Jim Donna Byrne Licensed to Thrill SACD Anderson, Jim Jane Ira Bloom Sixteen Sunsets BD-A 2018 Grammy Winner: Anderson, Jim 2018 Jane Ira Bloom Early Americans BD-A Best Surround Album Wild Lines: Improvising on Emily Anderson, Jim 2020 Jane Ira Bloom DSD/DXD Download Dickinson Jazz Ambassadors/Sammy Anderson, Jim The Sammy Sessions BD-A Nestico Masur/Stavanger Symphony Anderson, Jim Kverndokk: Symphonic Dances BD-A Orchestra Anderson, Jim Patricia Barber Modern Cool BD-A SACD/DSD & DXD Anderson, Jim 2020 Patricia Barber Higher with Ulrike Schwarz Download SACD/DSD & DXD Anderson, Jim 2021 Patricia Barber Clique Download Svilvay/Stavanger Symphony Anderson, Jim Mortensen: Symphony Op.
  • King Crimson Collectors' Club (1969-1974)

    King Crimson Collectors' Club (1969-1974)

    King Crimson Collectors' Club (1969-1974) Scritto da Gianluca Livi Mercoledì 30 Marzo 2016 19:23 King Crimson 1 / 10 King Crimson Collectors' Club (1969-1974) Scritto da Gianluca Livi Mercoledì 30 Marzo 2016 19:23 Collectors' Club (1969-1974) di Gianluca Livi Articolo originariamente apparso in due puntate sui nn. 35 e 37 (rispettivamente Marzo/Aprile e Luglio/Agosto del 2008) di "Musikbox. Rivista di cultura musicale e guida ragionata al collezionismo", qui pubblicato, con alcune varianti, per gentile concessione dell'autore. Premessa (2008) Alla fine degli anni '90, stanco dei bootleg, Robert Fripp decise di commercializzare ufficialmente alcuni live dei King Crimson su cd, muovendo dal presupposto che, se fino a quel momento i fan avevano acquistato materiale del gruppo dal vivo di scarsa qualità, facendo guadagnare esclusivamente biechi 2 / 10 King Crimson Collectors' Club (1969-1974) Scritto da Gianluca Livi Mercoledì 30 Marzo 2016 19:23 imprenditori pirata, poteva egli stesso vendere le medesime esibizioni, ufficializzandone l'uscita sul mercato discografico e, congiuntamente, perseguendo anche un (legittimo) fine di lucro. Poiché anche parte delle registrazioni in suo possesso erano qualitativamente scadenti, conscio dell'impossibilità di immetterle nel mercato senza suscitare polemiche, decise di distribuirle solo agli iscritti di un club, il cosiddetto “Collector's Club”. Coloro che vi avessero aderito, previo versamento di una cifra iniziale abbastanza consistente, avrebbero ricevuto i titoli pubblicati di volta in volta, vedendosi scalato il valore di ogni singolo disco dalla quota d'iscrizione. L'iniziativa andò avanti con ottimi risultati fino al 2002, quando - abbandonato definitivamente il metodo dell'iscrizione al Club - i cd furono inseriti nel catalogo della DGM, unitamente ad album ufficiali dei Crimson e di altri artisti della scuderia.
  • Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory

    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.
  • Beatles, Pink Floyd Engineer, Alan Parsons Rips Audiophiles

    Beatles, Pink Floyd Engineer, Alan Parsons Rips Audiophiles

    Beatles, Pink Floyd Engineer, Alan Parsons Rips Audiophiles Alan Parsons, producer, musician and sound engineer of Pink Floyd's Dark Side of the Moon, says audiophiles overpay for equipment while ignoring room acoustics. In an exclusive interview with CE Pro, Alan Parsons, renowned sound engineer for Pink Floyd's Dark Side of the Moon and for the Beatles, says hi-fi pros focus too much on equipment and brand names, when they should put more energy into room acoustics. He also says some surround- sound systems “really aren’t that bad.” All this from the audio wizard behind Dark Side of the Moon, and the name sake of the Alan Parson’s Project. Parsons broke into the music industry in the late 1960s when he was hired by Abbey Road Studios to work as an assistant engineer. As an assistant engineer, Parsons’ career started at a point where most music lovers only dream of reaching - working on the last two Beatles’ albums. As a full-fledged engineer, Parsons worked on projects with Paul McCartney and the Hollies, but it was his efforts on the benchmark album Dark Side of the Moon that launched his career. Throughout the rest of the 1970s and 1980s, Parsons released several albums under the name of Alan Parsons Project (APP). The 1990s marked a shift in direction for Parsons that was highlighted by his dropping of “Project” from his band name. As he entered the 2000s, Parsons continued to release new music, which includes his first foray into the electronica genre when he released 2004’s A Valid Path.
  • MUSIC PRODUCTION GUIDE Official News Guide from Yamaha & Easy Sounds for Yamaha Music Production Instruments

    MUSIC PRODUCTION GUIDE Official News Guide from Yamaha & Easy Sounds for Yamaha Music Production Instruments

    MUSIC PRODUCTION GUIDE OFFICIAL NEWS GUIDE FROM YAMAHA & EASY SOUNDS FOR YAMAHA MUSIC PRODUCTION INSTRUMENTS 04|2014 SPECIAL EDITION Contents 40th Anniversary Yamaha Synthesizers 3 40 years Yamaha Synthesizers The history 4 40 years Yamaha Synthesizers Timeline 5 40th Anniversary Special Edition MOTIF XF White 23 40th Anniversary Box MOTIF XF 28 40th Anniversary discount coupons 30 40th Anniversary MX promotion plan 31 40TH 40th Anniversary app sales plan 32 ANNIVERSARY Sounds & Goodies 36 YAMAHA Imprint 41 SYNTHESIZERS 40 YEARS OF INSPIRATION YAMAHA CELEBRATES 40 YEARS IN SYNTHESIZER-DESIGN WITH BRANDNEW MOTIF XF IN A STUNNIG WHITE FINISH SARY PRE ER M V IU I M N N B A O X H T 0 4 G N I D U L C N I • FL1024M FLASH MEMORY Since 1974 Yamaha has set new benchmarks in the design of excellent synthesizers and has developed • USB FLASH MEMORY (4GB) innovative tools of creativity. The unique sounds of the legendary SY1, VL1 and DX7 have influenced a INCL. SOUND LIBRARIES: whole variety of musical styles. Yamaha‘s know-how, inspiring technique and the distinctive sounds of a - CHICK’S MARK V - CS-80 40-years-experience are featured in the new MOTIF XF series that is now available in a very stylish - ULTIMATE PIANO COLLECTION white finish. - VINTAGE SYNTHESIZER COLLECTION YAMAHASYNTHSEU YAMAHA.SYNTHESIZERS.EU YAMAHASYNTHESIZEREU EUROPE.YAMAHA.COM MUSIC PRODUCTION GUIDE 04|2014 40TH ANNIVERSARY YAMAHA SYNTHESIZERS In 1974 Yamaha produced its first portable Yamaha synthesizers and workstations were and still are analog synthesizer with the SY-1. The the first choice for professionals and amateurs in the multi- faceted music business.
  • Columbia Poetry Review Publications

    Columbia Poetry Review Publications

    Columbia College Chicago Digital Commons @ Columbia College Chicago Columbia Poetry Review Publications Spring 4-1-1992 Columbia Poetry Review Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cpr Part of the Poetry Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Columbia College Chicago, "Columbia Poetry Review" (1992). Columbia Poetry Review. 5. https://digitalcommons.colum.edu/cpr/5 This Book is brought to you for free and open access by the Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Columbia Poetry Review by an authorized administrator of Digital Commons @ Columbia College Chicago. For more information, please contact [email protected]. COLUMBIA POETRY REVIEW Columbia College/Chicago Spring 1992 Columbia Poetry Review is published in the spring of each year by the English Department of Columbia College, 600 South Michigan Avenue, Chicago, Illinois 60605. Submissions are encouraged and should be sent to the above address. Subscriptions and sample copies are available at $6.00 an issue. Copyright © I 992 by Columbia College. Grateful acknowledgement is made to Dr. Philip Klukoff, Chairman of the English Department; Dr. Sam Floyd, Academic Vice-President; Lya Rosenblum, D ean of Graduate Studies; Bert Gall, Administrative Vice­ President; and Mike Alexandroff, President of Columbia College. The cover photograph is by John Mulvany. Student Editors: John
  • “The Dark Side of the Moon”—Pink Floyd (1973) Added to the National Registry: 2012 Essay By: Daniel Levitin (Guest Post)*

    “The Dark Side of the Moon”—Pink Floyd (1973) Added to the National Registry: 2012 Essay By: Daniel Levitin (Guest Post)*

    “The Dark Side of the Moon”—Pink Floyd (1973) Added to the National Registry: 2012 Essay by: Daniel Levitin (guest post)* Dark Side of the Moon Angst. Greed. Alienation. Questioning one's own sanity. Weird time signatures. Experimental sounds. In 1973, Pink Floyd was a somewhat known progressive rock band, but it was this, their ninth album, that catapulted them into world class rock-star status. “The Dark Side of the Moon” spent an astonishing 14 years on the “Billboard” album charts, and sold an estimated 45 million copies. It is a work of outstanding artistry, skill, and craftsmanship that is popular in its reach and experimental in its grasp. An engineering masterpiece, the album received a Grammy nomination for best engineered non-classical recording, based on beautifully captured instrumental tones and a warm, lush soundscape. Engineer Alan Parsons and Mixing Supervisor Chris Thomas, who had worked extensively with The Beatles (the LP was mastered by engineer Wally Traugott), introduced a level of sonic beauty and clarity to the album that propelled the music off of any sound system to become an all- encompassing, immersive experience. In his 1973 review, Lloyd Grossman wrote in “Rolling Stone” magazine that Pink Floyd’s members comprised “preeminent techno-rockers: four musicians with a command of electronic instruments who wield an arsenal of sound effects with authority and finesse.” The used their command to create a work that introduced several generations of listeners to art-rock and to elements of 1950s cool jazz. Some reharmonization of chords (as on “Breathe”) was inspired by Miles Davis, explained keyboardist Rick Wright.