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Argentina 45 Others
The non-Picture sleeved singles came in company sleeves. Very early singles may have come with 'Odeon Pops' covers, 1960s and early 1970s singles came with generic Apple cover and later singles came with generic EMI sleeves (2 paper types, 1 plastic). APPLE 1054 - THOSE WERE THE DAYS / TURN, TURN, TURN (Mary Hopkin) Promo Yellow labels, no EMI logo Light blue labels with star on top White labels, no star on top, large spacing between label lines White labels, no star on top, small spacing between label lines White labels with star on top Cream labels, no star on top Cream labels with star on top APPLE 1061 - AQUELLOS FUERON LOS DIAS / TURN, TURN, TURN (Mary Hopkin) Promo Light yellow labels, COMAR on left, 33 on right Yellow labels, 33 on left, COMAR on right, Yellow labels, 33 on left, COMAR on right, Aquellos starts under I in EMI Aquellos starts under E in EMI Comar on left, light blue labels APPLE 1073 - MAYBE TOMORROW / AND HER DADDY'S A MILLIONAIRE (The Iveys) Promo APPLE 1074 - SOUR MILK SEA / THE EAGLE LAUGHS AT YOU (Jackie Lomax) Promo APPLE 1094 - LONTANO DAGLI OCCHI / THE GAME (Mary Hopkin) Promo APPLE 1098 - ROAD TO NOWHERE / ILLUSIONS (Trash) Promo APPLE 1111 - GOODBYE / SPARROW (Mary Hopkin) Promo Dark green labels, Release number on right side of labels Dark green labels, Release number on bottom of labels Light green labels, Release number on bottom of labels APPLE 1138 - NEW DAY / THUMBIN' A RIDE (Jackie Lomax) Promo APPLE 1143 - THAT'S THE WAY GOD PLANNED IT / WHAT ABOUT YOU? (Billy Preston) Promo APPLE 1181 - GOLDEN SLUMBERS - CARRY THAT WEIGHT / TRASH CAN (Trash) Promo APPLE 1194 - EVERYTHING'S ALL RIGHT / I WANT TO THANK YOU (Billy Preston) Promo APPLE 1221 - COME AND GET IT / ROCK OF ALL AGES (Badfinger) Promo APPLE 1975 - COME AND GET IT / ROCK OF ALL AGES (Badfinger) Promo APPLE 1223 - TEMMA HARBOUR / YOUNG LOVE (Mary Hopkin) Promo APPLE 1238 - KNOCK, KNOCK, WHO'S THERE? / I'M GOING TO FALL IN LOVE AGAIN (Mary Hopkin) Promo APPLE 1303 - QUE SERA, SERA / FIELDS OF ST. -
September 8, 1962
September 8, 1962 Ever since “Blue Moon” zoomed to the top of the charts, Colpix Records has been an important and consistant factor on the singles scene with a series of best sellers by such artists as James Darren (left), Shelley Fabares (second), Paul Petersen (third), the Marcels (fourth) and in the album field with Nina Simone (right). As the company’s singles continue to build, Leo Jeffe, executive vice-president of Columbia Pictures, parent company of Colpix, and Jerry Raker, general manager of Colpix Records, are seen discussing a major push for the company’s line. ) expanding album The two are standing in front of some of the important Columbia flicks for which Colpix has issued sound-track albums. 1 a sensational lineup!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! / Columbia singles sel/M * Also available on Single 33 Cash Box CashBox Vol. XXIV—Number 1 September 8, 1962 FOUNDED BY BILL GERSH Gash Box (Publication Office) 1780 Broadway New York 19, N. Y. SINGLES (Phone: JUdson 6-2640) CABLE ADDRESS: CASHBOX, N. Y. JOE ORLECK, President and Publisher NORMAN ORLECK, VP and Managing Director and GEORGE ALBERT, VP and Treasurer EDITORIAL—Music MARTY OSTROW, Editor-in-Chief IRA HOWARD, Editor IRV LICHTMAN, Associate Editor DICK ZIMMERMAN, Editorial Assistant SHOWTUNES MIKE MARTUCCI, Editorial Assistant BOB ETTINGER, Editorial Assistant POPSIE, Staff Photographer The music business doesn’t have gles rounds on a host of labels. ADVERTISING to look to nature for signs of Fall. This kind of showtune coverage of BOB AUSTIN, National Director, Music JERRY SHIFRIN, NY.C. office, Music The theatre sections of every publi- singles takes the record industry LEE BROOKS, Manager Chicago JACK DEVANEY, Manager Los Angeles cation, consumer or trade, make back at least a decade, and if it con- Machine MARTY TOOHEY, National—Coin the music man well aware at this tinues, the singles field well NEVILLE MARTEN, London, Eng. -
Songs of the Century
Songs of the Century T. Austin Graham hat is the time, the season, the historical context of a popular song? When is it most present in the world, best able Wto reflect, participate in, or construct some larger social reality? This essay will consider a few possible answers, exploring the ways that a song can exist in something as brief as a passing moment and as broad as a century. It will also suggest that when we hear those songs whose times have been the longest, we might not be hearing “songs” at all. Most people are likely to have an intuitive sense for how a song can contract and swell in history, suited to a certain context but capable of finding any number of others. Consider, for example, the various uses to which Joan Didion is able to put music in her generation-defining essay “Slouching Towards Bethlehem,” a meditation on drifting youth and looming apocalypse in the days of the Haight-Ashbury counterculture. Songs create a powerful sense of time and place throughout the piece, with Didion nodding to the Grateful Dead, Jefferson Airplane, Quick- silver Messenger Service, and “No Milk Today” by Herman’s Hermits, “a song I heard every morning in the cold late spring of 1967 on KRFC, the Flower Power Station, San Francisco.”1 But the music that speaks most directly and reverberates most widely in the essay is “For What It’s Worth,” the Buffalo Springfield single whose chiming guitar fifths and famous chorus—“Stop, hey, what’s that sound / Everybody look what’s going down”—make it instantly recognizable nearly five decades later.2 To listen to “For What It’s Worth” on Didion’s pages is to hear a song that exists in many registers and seems able to suffuse everything, from a snatch of conversation, to a set of political convictions, to nothing less than “The ’60s” itself. -
Motown the Musical
EDUCATIONAL GUIDE C1 Kevin MccolluM Doug Morris anD Berry gorDy Present Book by Music and Lyrics from Berry gorDy The legenDary MoTown caTalog BaseD upon The BooK To Be loveD: Music By arrangeMenT wiTh The Music, The Magic, The MeMories sony/aTv Music puBlishing of MKoevinTown B yM Bcerrycollu gorDyM Doug Morris anD Berry gorDy MoTown® is a regisTereD TraPresentDeMarK of uMg recorDings, inc. Starring BranDon vicTor Dixon valisia leKae charl Brown Bryan Terrell clarK Book by Music and Lyrics from TiMoThy J. alex Michael arnolD nicholas chrisTopher reBecca e. covingTon ariana DeBose anDrea Dora presTBonerry w. Dugger g iiior Dwyil Kie ferguson iii TheDionne legen figgins DaryMarva M hicoKsT ownTiffany c JaaneneTalog howarD sasha huTchings lauren liM JacKson Jawan M. JacKson Morgan JaMes John Jellison BaseD upon The BooK To Be loveD: Music By arrangeMenT wiTh crysTal Joy Darius KaleB grasan KingsBerry JaMie laverDiere rayMonD luKe, Jr. Marielys Molina The Music, The Magic, The MeMories sony/aTv Music puBlishing syDney MorTon Maurice Murphy Jarran Muse Jesse nager MilTon craig nealy n’Kenge DoMinic nolfi of MoTown By Berry gorDy saycon sengBloh ryan shaw JaMal sTory eric laJuan suMMers ephraiM M. syKes ® JMuliusoTown Tho isM asa regisiii TereDanielD Tra DJ.eM waraTTK sof uMDgonal recorD wDeingsBBer, i, ncJr.. Scenic Design Costume Design LighStarringting Design Sound Design Projection Design DaviD Korins esosa BranDnonaTasha vic TKoraTz Dixon peTer hylensKi Daniel BroDie Casting Hair & Wig Design valisia leKae Associate Director Assistant Choreographer Telsey + coMpany charlcharles Brown g. lapoinTe scheleBryan willia TerrellMs clarK Brian h. BrooKs BeThany Knox,T icsaMoThy J. alex Michael arnolD nicholas chrisTopher reBecca e. -
The Beatles Record Review
WRITING ASSIGNMENT Record Review You are going to write a record review of an album that is deemed significant in Rock Music. A list of groups/artists can be accessed by clicking on link below http://www.rollingstone.com/ news/story/5938174/the_rs_500_greatest_albums_of_all_time Criteria: Title Page Name, word count, course number, section number, etc. Introduction: Write a biography of the group you're critiquing. This should include the year the group/artist began recording, a list of and year of recordings, billboard chart positions, and any awards, Grammys, etc. www.allmusic.com is a great source for biographical information. Section 1 You will need to include all of the specifics of the recording, record label, producer(s), year, and dates of recording. Listen to the album several times as if you were a record critic and write an overview of the album, i.e. style of music, mood, highlights, lowlights, etc. Here are some things to consider: Is there a unifying theme throughout the album? Are there contrasting themes? If so, what are they? Is there enough variety musically in your opinion? What is it about this album in particular that makes it stand out? Section 2 Pick four songs and discuss them in more detail. Discuss your likes and dislikes as we have in relation to the journal entries in class but you will need to go into more detail. Discuss any other elements you find compelling, i.e., imagery from the lyrics or lack thereof, the use of and/or role of instrumentation, tempos, solos, vocals, etc. Section 3 Summarize your experience. -
Bill Harry. "The Paul Mccartney Encyclopedia"The Beatles 1963-1970
Bill Harry. "The Paul McCartney Encyclopedia"The Beatles 1963-1970 BILL HARRY. THE PAUL MCCARTNEY ENCYCLOPEDIA Tadpoles A single by the Bonzo Dog Doo-Dah Band, produced by Paul and issued in Britain on Friday 1 August 1969 on Liberty LBS 83257, with 'I'm The Urban Spaceman' on the flip. Take It Away (promotional film) The filming of the promotional video for 'Take It Away' took place at EMI's Elstree Studios in Boreham Wood and was directed by John MacKenzie. Six hundred members of the Wings Fun Club were invited along as a live audience to the filming, which took place on Wednesday 23 June 1982. The band comprised Paul on bass, Eric Stewart on lead, George Martin on electric piano, Ringo and Steve Gadd on drums, Linda on tambourine and the horn section from the Q Tips. In between the various takes of 'Take It Away' Paul and his band played several numbers to entertain the audience, including 'Lucille', 'Bo Diddley', 'Peggy Sue', 'Send Me Some Lovin", 'Twenty Flight Rock', 'Cut Across Shorty', 'Reeling And Rocking', 'Searching' and 'Hallelujah I Love Her So'. The promotional film made its debut on Top Of The Pops on Thursday 15 July 1982. Take It Away (single) A single by Paul which was issued in Britain on Parlophone 6056 on Monday 21 June 1982 where it reached No. 14 in the charts and in America on Columbia 18-02018 on Saturday 3 July 1982 where it reached No. 10 in the charts. 'I'll Give You A Ring' was on the flip. -
US Apple LP Releases
Apple by the Numbers U.S. album releases From the collection of Andre Gardner of NY, NY SWBO‐101 The Beatles The Beatles Released: 22 Nov. 1968 (nicknamed "The White Album") In stark contrast to the cover to Sgt. Pepper's LHCB, the cover to this two record set was plain white, with writing only on the spine and in the upper right hand corner of the back cover (indicating that the album was in stereo). This was the first Beatles US album release which was not available in mono. The mono mix, available in the UK, Australia, and several other countries, sounds quite different from the stereo mix. The album title was embossed on the front cover. Inserts included a poster and four glossy pictures (one of each Beatle). The pictures were smaller in size than those issued with the UK album. A tissue paper separator was placed between the pictures and the record. Finally, as in every EMI country, the albums were numbered. In the USA, approximately 3,200,000 copies of the album were numbered. These albums were numbered at the different Capitol factories, and there are differences in the precise nature of the stamping used on the covers. Allegedly, twelve copies with east‐coast covers were made that number "A 0000001". SI = 2 ST 3350 Wonderwall Music George Harrison Released: 03 Dec. 1968 issued with an insert bearing a large Apple on one side. Normal Copy: SI = 2 "Left opening" US copy or copy with Capitol logo: SI = 7 T‐5001 Two Virgins John Lennon & Yoko Ono Released: January, 1969 (a.k.a. -
Here Information Was Modified Due to One of the Error Types Noted Above
The Beatles Recording Reference Manual — Volume 1 — My Bonnie through Beatles For Sale (1961-1964) Corrigendum The Beatles Recording Reference Manual Volume 1 My Bonnie through Beatles For Sale (1961-1964) Corrigendum Jerry Hammack Edited by Gillian G. Gaar The Beatles Recording Reference Manual — Volume 1 — My Bonnie through Beatles For Sale (1961-1964) Corrigendum Copyright © 2021 Jerry Hammack All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the author, except by reviewers, who may quote brief passages in a review. Library of Congress Control Number: 2017909370 CreateSpace Independent Publishing Platform, North Charleston, SC Hammack, Jerry, 1961- The Beatles Recording Reference Manual: Volume 1: My Bonnie through Beatles For Sale (1961-1964) Corrigendum Gearfab Books, Ltd. Toronto, Ontario, Canada The Beatles Recording Reference Manual — Volume 1 — My Bonnie through Beatles For Sale (1961-1964) Corrigendum iii The Beatles Recording Reference Manual — Volume 1 — My Bonnie through Beatles For Sale (1961-1964) Corrigendum About this Corrigendum ____________________________________________________________________________________________________________ It’s clear, I’m not perfect. In researching, writing, editing and producing The Beatles Recording Reference Manuals, I made some errors. Some of these errors were of omission, some were of misinterpretations of information that I was challenged on and found my conclusions wanting, and others were bothersome copy/paste issues that were not caught in the proofing stage of book production. Regardless of their type or nature, I take responsibility for them all. I know these books are not cheap to own, and I also know that Beatles fans interested in this material are some of the most detail-oriented fans in the world. -
Apple Label Discography
Apple Label Discography 100-800 series (Capitol numbering series) Apple Records was formed by John Lennon, Paul McCartney, George Harrison and Ringo Starr in 1968. The Apple label was intended as a vehicle for the Beatles, their individual recordings and the talent they discovered. A great deal of what appeared on Apple was pretty self indulgent and experimental but they did discover a few good singers and groups. James Taylor recorded his first album on the label. Doris Troy recorded a good soul album and there are 2 albums by John Lewis and the Modern Jazz Quartet. The Beatlesque group Badfinger also issued several albums on the label, the best of which was “Straight Up”. Apple Records fell apart in management chaos in 1974 and 1975 and a bitter split between the Beatles over the management of the company. Once the lawyers got involved everybody was suing everybody else over the collapse. The parody of the Beatles rise and the disintegration of Apple is captured hilariously in the satire “All You Need Is Cash: the story of the Rutles”. The Apple label on side 1 is black with a picture of a green apple on it, black printing. The label on side 2 is a picture of ½ an apple. From November 1968 until early 1970 at the bottom of the label was “MFD. BY CAPITOL RECORDS, INC. A SUBSIDIARY OF CAPITOL INDUSTRIES INC. USA”. From Early 1970 to late 1974, at the bottom of the label is “MFD. BY APPLE RECORDS” From late 1974 through 1975, there was a notation under the “MFD. -
Mexico 45 Others
APPLE 6391 - THINGUMYBOB / YELLOW SUBMARINE (John Foster & Sons Ltd. Black Dyke Mills Band) APPLE 6392 - THOSE WERE THE DAYS / TURN TURN TURN (Mary Hopkin) (X46416) and (5:06) not aligned 6392 print near middle (X46416) and (5:06) aligned, 6392 print on 1/3 from top of (X46416) and (5:06) not aligned 6392 print on 1/3 from top of 6392 starts under spacing label label between O & P in Hopkin (X46416) and (5:06) not 6392 print near middle aligned, 6392 starts under spacing between H & O in Hopkin APPLE 6393 - SOUR MILK SEA / THE EAGLE LAUGHS AT YOU (Jackie Lomax) APPLE 6411 - QUE TIEMPO TAN FELIZ / TURN TURN TURN (Mary Hopkin) APPLE 6446 - MAYBE TOMORROW / AND HER DADDY'S A MILLIONAIRE (The Iveys) APPLE 6467 - GOODBYE / SPARROW (Mary Hopkin) APPLE 6535 - THAT'S THE WAY GOD PLANNED IT / WHAT ABOUT YOU (Billy Preston) Promo Sliced Apple on A-side APPLE 6549 - SUNSET / IS THIS WHAT YOU WANT (Jackie Lomax) Promo APPLE 6564 - HARE KRISHNA MANTRA / PRAYER TO THE SPIRITUAL MASTERS (Radha Krishna Temple - London) Promo Small space over RADHA Large space over RADHA APPLE 6585 - GOLDEN SLUMBERS - CARRY THAT WEIGHT / TRASH CAN (Trash) APPLE 6617 - COME AND GET IT / ROCK OF ALL AGES (Badfinger) V in Ven starts under C in Come V in Ven starts under O in Come APPLE 6634 - TEMMA HARBOUR / LONTANO DAGLI OCCHI (Mary Hopkin) Promo APPLE 6673 - GOVINDA / GOVINDA JAI JAI (Radha Krishna Temple - London) Promo stamp APPLE 6727 - QUE SERA, SERA / FIELDS OF ST. ETIENNE (Mary Hopkin) Promo stamp, a.m.p.i.ascap. -
KLOS Sept. 22Nd NO PAUL
1 2 PLAYLIST SEPT. 22nd 2013 9AM The Beatles - Come Together - Abbey Road (Lennon-McCartney) Lead vocal: John 3 The Beatles’ twenty-first single release for EMI, and fourth on the Apple Records label. When John and Yoko were in Montreal staging their second and last Bed-In For Peace they were visited by Timothy Leary, an outspoken proponent of LSD. During their visit, Leary and his wife participated in John and Yoko’s hotel room recording of “Give Peace A Chance,” singing on the chorus. Timothy is even name-checked in the lyrics. He asked John to write a song titled “Come Together – Join The Party” for his bid to become governor of California. Lennon obliged and responded with lyrics such as: “Come together right now/Don’t come tomorrow, don’t come alone/Come together right now over me.” Lennon recorded a demo for Leary, who started using it as his campaign song. After being imprisoned for possession of marijuana in late 1969, Leary dropped out of the gubernatorial race, which was won by Ronald Reagan. Lennon reworked and expanded the song for the Beatles. The Beatles - The Ballad Of John And Yoko - Non-LP track (Lennon-McCartney) Lead vocal: John The Beatles’ twentieth single release for EMI, and third on the Apple Records label. The first Beatles single issued in stereo in the UK, it is also the very first stereo single issued by EMI. The “Get Back” single had been released in stereo in America by Capitol. Recorded on April 14, 1969, by just John and Paul, the song was completed that day. -
Finding Aid to the Historymakers ® Video Oral History with Janie Bradford
Finding Aid to The HistoryMakers ® Video Oral History with Janie Bradford Overview of the Collection Repository: The HistoryMakers®1900 S. Michigan Avenue Chicago, Illinois 60616 [email protected] www.thehistorymakers.com Creator: Bradford, Janie, 1939- Title: The HistoryMakers® Video Oral History Interview with Janie Bradford, Dates: November 19, 2019 and November 28, 2012 Bulk Dates: 2012 and 2019 Physical 10 uncompressed MOV digital video files (4:26:04). Description: Abstract: Songwriter Janie Bradford (1939 - ) was a songwriter at Motown Records for twenty-eight years, writing songs such as “Money (That's What I Want),” “Tie a String Around Your Finger,” and “Too Busy Thinking About My Baby.” Bradford was interviewed by The HistoryMakers® on November 19, 2019 and November 28, 2012, in Los Angeles, California. This collection is comprised of the original video footage of the interview. Identification: A2012_252 Language: The interview and records are in English. Biographical Note by The HistoryMakers® Songwriter Janie Bradford was born on June 2, 1939 in Charleston, Missouri to Richard Henry and Elizabeth Bradford. Bradford attended Birds Mill Elementary School and Lincoln High School. Upon graduation, Bradford attended the Detroit Institute of Technology in 1956. In Detroit, Bradford lived with her sister, Clea Ethel. Their neighbor was Jackie Wilson, who introduced Bradford to the founder of Motown Records, Berry Gordy. In 1958, Bradford joined Motown Records as a secretary, but soon became a songwriter for Motown singers. The first two songs she co-authored with Gordy were included on Jackie Wilson’s album, Lonely Teardrops. The next collaboration that Bradford co-wrote with Gordy was the song “Money (That’s What I Want),” which has been covered over two hundred times by artists such as The Beatles, The Rolling Stones, Muddy Watters, The Supremes, The Flying Lizards and Boyz II Men.