Wavelength (September 1984)

Total Page:16

File Type:pdf, Size:1020Kb

Wavelength (September 1984) University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 9-1984 Wavelength (September 1984) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (September 1984) 47 https://scholarworks.uno.edu/wavelength/47 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact scholarworks@uno.edu. • NEW ORLEANS JAZZ & HERITAGE FOUNDATION, INC • Presents • Featuring Allen Toussaint I Dr. John 8t Dave-- Bartholomew-- FRIDAY, SEPTEMBER 28, 1984,8:00 PM SAENGER THEATER Tickets $10/$15 At All Ticketmaster Locations lit Saenger Box Office Proceeds wUl go to the Longhair PamUy. 11 :30 a.m. to 1 p.m. Sponsored by The Downtown Development District and The Arts Council of New Orleans in cooperation wirh The Ciry of New Orteons, The ISSUE N0.47 SEPTEMBER 1984 Recording Industries. The Musicians· Union and The e Louisiana State Arts Council. Division of The Arts. "I'm not sure, but I'm almost positive, that all music came from New Orleans." - Ernie K-Doe, 1979 ERTS Fall1984 FEATURES Fans: Front Row Fashions ......... 14 From Russia with a Beat 1ST WEEK DUNCAN PlAZA 3RD WEEK VARIOUS LOCATIONS by Jim Motavalli . .............. 19 Isidore "Tuts" Washington by Almost Slim ................ 21 DEPARTMENTS September News ................... 4 Golden Moments by Almost Slim ......... .. ...... 6 Rbythmatic by Gene Scaramuzzo ..... .... .. 6 Flip City by Carol Gnyadi ..... ......... .. 8 Dinette Set by Bunny Matthews .. .. .... .. 10 Zekespeak by Zeke Fishhead ............... 13 CULlU Listings . .. ....... .............. 24 Classifieds ....................... 29 HABITS Last Page ............... .. ...... 30 in LAFAYEIIE Oct. 17 Johnny P.epak Cover photograph by Alice Quarles Hargrove. Southemers' Ord'lestro SQUARE Oct. 24 Deacon John Ncre Oct.-31 Lady ru SATURDAY FESTIVALS Polollohr, Nauman S. ScotL ltclllor, Connie At.kinoon. Sealor Editor, BuMy Drown Dog Concens !han ever­ Mettbowo. Ofl'lce Muacer, Diona Rounberr. ltclllorlal A.olotant, Allioon and they're oil srtll free! and Spectrum 12 noon to 4 p.m. Bnndin. PnMhacllon, Studio G. Ad,..rt!.lnc Salee Mu.. er, Rhon Fabian. Now Soturdoy shopping downtown wl!h Dlotri...,lloe, Joe Ton:aon. C011trlbut01'e: Allioon Brondin. Bob Cataliotti. WEDNESDAYS Nov. 7 Banu Gibson and Zeb Fi•hh ..d. Jon Foooe. C.rol Gunyodi, Tad Jone•, .Jon Newlin. Ric Olivier. the New Orleans the family con Include o visit to Dione Rooenbe11, Kolomu yo Solum. Shepard Samuel.. Gene Scaromuno. 11 a.m. to 1 p.m. l.afoyene Square and some of the best llo1D111011d Scott. Almoot Slim, Keith Twitchell. Nan<y Weldon. Le• White. William D. White. Join us fNefY Wedne5day In October and Hat Jazz Ord'lestra music in NO'V'elllber In beourlfvl l.ofoyene Square Nov. 14 Nature New 011eons. foro new development in oo.x Nov. 21 Original Camellia Wovtl...,rh ia published monthly in New Orleono. Telephone (S04) 89S·2342. Drown Dog sertes--Cullurol Hoblts. Sept. 29 Jazz A'NOreness Festival Mail subocriptiono. eddre11 chonre• to Wovtl•"'th. P.O. Bo• JS667 . New Jazz Band Orlo1111.LA. 7017S. Subocriptionrate io$12 peryear . ForeirnS20peryear. Firot Oct. 27 Rhytnm and dUioubocriptiono. $28 peryur(domeotic• Canada). AO airmail rate at $40 per Oct. .:3 U5. Navy Show Band Nov. 28 Noel Kendri~ Blues Festival ,... (overoeu). The entlra contento of Wovtl""'h are copyrichted 0 1984 W~h. Oct. 10 Tim Williams CountTy Band and Company Dec. 1 Christmas Celebration Bock iooue• are available by writinc to Back luu.. P.O. 801t IS667. New Orleano. LA. 701 7S. Becauoe or a limited oupply. back iuueo are ovoilable for S4 eo<h. Pleue oDow o few weeki for proceuinc ond delivery or ordero. New Sub· O<ribero: Pie... allow up to oi• weeko for re<eipt or fll'ot iooue due to our om all. DOn ·<'Omputerited aubacripti(, n department. Forticn cuotomero may pay by I.M.O. or check drawn on o U.S . bonk. Becauoe or norbitent bonk proceuinc chorceo. we cannotoccept checkoin Conediandollaro ,. other foraicn currt~ncy . or checkl drown on 1 foreicn bonk. All these lunch-time concerts ore FREE and open to the public. Subocribero muot notify ua immediately or ony chonce or eddrou. U notifocotion il not received, mapzine1 tent to inco~t old addr•ue1 will not be replaced. U.S. cu1tomera mutt include zip code. J September 1984/ Wavelength 3 SEPTEMBER NEWS Normally Acoustic David Normal, formerly of the Normals and known to family and loved ones as David Brewton, played a recent comeback gig at -you guessed it-The Penny Post. No slamdancers were to be seen, however, amidst the flut­ tering candles, incense, and scattered pillows. David played an acoustic set (no electric guitars are allowed on the premises) of some of his favorite '60s songs as well as many of the Normals greats, such as "Around the Downtown" and "Philosophy." Joining him for a bit of harmonizing was ex-Normal Chris Luckett and friends Vance DeGeneres, Kevin Radecker, and Rick Polizzi. Mr. Normal has recently returned to music after a somewhat extended Sabbatical to contemplate religious mysteries and explore a normal kind of life. As for the future, the Normals are not getting back together but David is releasing a 45 in September and a new band is on the drawing board. -Allison Brandin Europe Goes Red Rockers join the circus. To War and the one before that was done summed up what we thought about Even though 1984 has been a Schizophrenic in about two days. So it was quite the world at the moment. You banner year for the European R&B Rockers an· experience for us." wouldn't believe how much grief album manufacturers, next year The Big Sound: ''A lot of it has CBS gave us about it. I think they looks to be even better. The year From a lonely motel room in to do with microphone placement. just couldn't spell it. They didn't 1985 could see a "war" between Arizona, Red Rockers bassist/ We used about three mikes on the think it was good. the big independents: Ace, Charly, spokesman Darren Hill called in snare, in different positions. Then "We did an unusual album Demon-Edsel, Flyright and Pathe mid-August to report that the it's all in the mix after that. These cover shoot and CBS didn't like Marconi. band's third album, Schizophrenic guys really know what they're that, either. We did a double-sided Ace Records prexy Ted Carroll Circus, would be in the nation's doing when it comes to drums. We album cover. We set up a circus recently visited these shores and record stores by the time you read used a really big room at the scene-an 1800's-type circus-on a left with a parcel of sides from the this. The Rockers spent most of Record Plant, too. That has a lot beach on Staten Island. We did American Ace label Starday, August touring the Southwest with to do with the drum sound. It's a one shot where we were in these Dixie, Crazy Cajun, Teardrop and the Go-Go's and preceding their really hard room-all wood." really weird-looking antique circus Modern, that are destined for own year-long worldwide tour On re-recording "Eve of costumes. reissue early next year. He also (which will include the band's first Destruction," Barry McGuire's Then on the other side. began negotiations for material on European and Japanese appear­ 1965 Number One hit: "Well, we it's the same shot-only we're the Jin, Swallow and Instant labels ances), the Red Rockers plan a were just sitting around the studio standing there in regular clothes. that could well be available in 1985 series of American dates with -and we needed to do another song. One shot is upside-down so that as well. Ireland's U2. Except for the part Originally, it was just going to be a when you flip the album, you can't Charly on the other hand is about Barry McGuire probably B-side for a single. We recorded tell which side is the front and which finishing up its excellent Sun being a burned-out acidhead, this tons of songs-Beatles songs, is the back. CBS is doing it but we records reissue program and hopes is the bulk of what Comrade Hill Dylan songs. 'Eve of Destruction' had a battle with them over it." to have a three-lp, Sun Blues Box had to say: just came out the best so we spent a The future: "We're really in the shops sometime early next On the new album: "I think it's lot of time working on it. When we looking forward to this year. I year. They are also packaging up as much of a change from the last got done, it turned out better than think this is going to be the year. I Eddie Shuler's Goldband sides (22 album as the last one was from the anything else on the album. We did feel really confident about this albums' worth!) and are in the first one. We got a really big sound kind of a Byrds arrangement of it. album." process of compiling many of the on this one, a lot bigger than on It was real interesting because Shawn Paddock, the new classic Atlantic and Vee Jay sides the other ones. For producers, we [vocalist] John [Griffith] had never guitarist: "He was a friend of ours into 16-track Ips.
Recommended publications
  • 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.
    [Show full text]
  • 80S 697 Songs, 2 Days, 3.53 GB
    80s 697 songs, 2 days, 3.53 GB Name Artist Album Year Take on Me a-ha Hunting High and Low 1985 A Woman's Got the Power A's A Woman's Got the Power 1981 The Look of Love (Part One) ABC The Lexicon of Love 1982 Poison Arrow ABC The Lexicon of Love 1982 Hells Bells AC/DC Back in Black 1980 Back in Black AC/DC Back in Black 1980 You Shook Me All Night Long AC/DC Back in Black 1980 For Those About to Rock (We Salute You) AC/DC For Those About to Rock We Salute You 1981 Balls to the Wall Accept Balls to the Wall 1983 Antmusic Adam & The Ants Kings of the Wild Frontier 1980 Goody Two Shoes Adam Ant Friend or Foe 1982 Angel Aerosmith Permanent Vacation 1987 Rag Doll Aerosmith Permanent Vacation 1987 Dude (Looks Like a Lady) Aerosmith Permanent Vacation 1987 Love In An Elevator Aerosmith Pump 1989 Janie's Got A Gun Aerosmith Pump 1989 The Other Side Aerosmith Pump 1989 What It Takes Aerosmith Pump 1989 Lightning Strikes Aerosmith Rock in a Hard Place 1982 Der Komimissar After The Fire Der Komimissar 1982 Sirius/Eye in the Sky Alan Parsons Project Eye in the Sky 1982 The Stand Alarm Declaration 1983 Rain in the Summertime Alarm Eye of the Hurricane 1987 Big In Japan Alphaville Big In Japan 1984 Freeway of Love Aretha Franklin Who's Zoomin' Who? 1985 Who's Zooming Who Aretha Franklin Who's Zoomin' Who? 1985 Close (To The Edit) Art of Noise Who's Afraid of the Art of Noise? 1984 Solid Ashford & Simpson Solid 1984 Heat of the Moment Asia Asia 1982 Only Time Will Tell Asia Asia 1982 Sole Survivor Asia Asia 1982 Turn Up The Radio Autograph Sign In Please 1984 Love Shack B-52's Cosmic Thing 1989 Roam B-52's Cosmic Thing 1989 Private Idaho B-52's Wild Planet 1980 Change Babys Ignition 1982 Mr.
    [Show full text]
  • Music & Entertainment Auction
    Hugo Marsh Neil Thomas Plant (Director) Shuttleworth (Director) (Director) Music & Entertainment Auction 20th February 2018 at 10.00 For enquiries relating to the sale, Viewing: 19th February 2018 10:00 - 16:00 Please contact: Otherwise by Appointment Saleroom One, 81 Greenham Business Park, NEWBURY RG19 6HW Telephone: 01635 580595 Christopher David Martin David Howe Fax: 0871 714 6905 Proudfoot Music & Music & Email: mail@specialauctionservices.com Mechanical Entertainment Entertainment www.specialauctionservices.com Music As per our Terms and Conditions and with particular reference to autograph material or works, it is imperative that potential buyers or their agents have inspected pieces that interest them to ensure satisfaction with the lot prior to the auction; the purchase will be made at their own risk. Special Auction Services will give indica- tions of provenance where stated by vendors. Subject to our normal Terms and Conditions, we cannot accept returns. Buyers Premium: 17.5% plus Value Added Tax making a total of 21% of the Hammer Price Internet Buyers Premium: 20.5% plus Value Added Tax making a total of 24.6% of the Hammer Price Historic Vocal & other Records 9. Music Hall records, fifty-two, by 16. Thirty-nine vocal records, 12- Askey (3), Wilkie Bard, Fred Barnes, Billy inch, by de Tura, Devries (3), Doloukhanova, 1. English Vocal records, sixty-three, Bennett (5), Byng (3), Harry Champion (4), Domingo, Dragoni (5), Dufranne, Eames (16 12-inch, by Buckman, Butt (11 - several Casey Kids (2), GH Chirgwin, (2), Clapham and inc IRCC20, IRCC24, AGSB60), Easton, Edvina, operatic), T Davies(6), Dawson (19), Deller, Dwyer, de Casalis, GH Elliot (3), Florrie Ford (6), Elmo, Endreze (6) (39, in T1) £40-60 Dearth (4), Dodds, Ellis, N Evans, Falkner, Fear, Harry Fay, Frankau, Will Fyfe (3), Alf Gordon, Ferrier, Florence, Furmidge, Fuller, Foster (63, Tommy Handley (5), Charles Hawtrey, Harry 17.
    [Show full text]
  • Fats Domino Goin' Home
    “Goin’ Home” We’ll Miss You, Fats “Everybody started calling my music rock and roll, but it wasn't anything but the same rhythm and blues I'd been playing down in New Orleans.” - FATS DOMINO “As far as I know, the music makes people happy. I know it makes me happy.” - FATS DOMINO “Let's face it, I can't sing like Fats Domino can. I know that.” - ELVIS PRESLEY “Well, I wouldn't want to say that I started it (rock „n‟ roll), but I don't remember anyone else before me playing that kind of stuff.” - FATS DOMINO “Even if Fats didn‟t actually invent rock „n‟ roll, he was certainly responsible for accidentally inventing ska, and thus reggae … Antoine „Fats‟ Domino was definitely a great innovator, and richly deserves a much fatter entry in the history books.” – OWEN ADAMS On Tuesday, 3:30 a.m., October 24, 2017, New Orleans and the world lost a pioneering titan of rock „n‟ roll, “Fats” Domino. The popular pianist and singer-songwriter of the Lower 9th Ward was 89. During his career, this influential, yet humble performer sold more than 65 million records and had over 35 hits in the U.S. Billboard Top 40, including “Ain‟t That a Shame,” “Blueberry Hill” and “Blue Monday”. With producer and arranger Dave Bartholomew, “Fats” helped put his hometown on the rock „n‟ roll map. This shy lifelong New Orleanian influenced numerous artists including Paul McCartney and Randy Newman, who once confessed, “I was so influenced by Fats Domino that it‟s still hard for me to write a song that‟s not a New Orleans shuffle.” Domino‟s distinctive barreling triplet-based piano style, backed by a solid backbeat, was something exceptional, a step above traditional rhythm and blues.
    [Show full text]
  • The Rockmelons
    DYNAMITE – SONG LIST I GOTTA FEELING (Black Eyed Peas) SEPTEMBER (Earth, Wind & Fire) I LOVE THE NIGHT LIFE (Alicia Bridges) SET FIRE TO THE RAIN (Adelle) AIN'T NO SUNSHINE (The Rockmelons) I WAS MADE FOR LOVING YOU (Kiss) SEX ON FIRE (Kings of Leon)S AIN'T NOBODY (Chaka Khan) I WILL SURVIVE (Gloria Gaynor) HACKLES (Mary Mary) SHAKE YOUR ALL OF ME (John Legend) I WISH (Stevie Wonder) BOOTY (KC & The Sunshine Band) ALL OF ME (Michael Buble) IF I AIN'T GOT YOU (Alicia Keys) SHAKE YOUR TAILFEATHER (The Blues Brothers) APRIL SUN (Dragon) IF YOU COULD READ MY MIND (Studio 54) SIGN SEALED DELIVERED (Stevie Wonder) BEAUTIFUL (Disco Montego) INTO THE GROOVE (Madonna) SIMPLY THE BEST (Tina Turner) BEEN AROUND THE WORLD (Lisa Stansfield) INTO THE NIGHT (Santana) SING IT BACK (Moloko) BILLIE JEAN (Michael Jackson) JUST THE WAY YOU ARE (Bruno Mars) SMOOTH (Santana) BROADWAY (George Benson) KHE SANH (Cold Chisel) SO WHAT (Pink) BOOGIE OOGIE OOGIE (A Taste of Honey) KIDS (Kylie Minogue & Robbie Williams) SOMEONE LIKE YOU (Adele) BROWN EYED GIRL (Van Morrison) KILLING ME SOFTLY (The Fugees) STAYING ALIVE (Bee Gees) CAN'T GET ENOUGH OF YOUR LOVE (Barry White) KISS (Tom Jones) STILL HAVEN'T FOUND WHAT I'M LOOKING FOR (U2) CAN'T GET YOU OUT OF MY HEAD (Kylie Monique) KNOCK ON WOOD (Amii Stewart) SUMMER OF '69 (Bryan Adams) CHAIN OF FOOLS (Aretha Franklin) LA BAMBA (Los Lobos) SUNDAY MORNING (Maroon 5) CLOSER (Ne-Yo)CRAZY (Gnarls Barkley) LADY MARMALADE (Patti La Belle) SUPERSTITION (Stevie Wonder) CRAZY IN LOVE (Beyonce) LE FREAK (Chic) SUPA DUPA LOVE (Joss
    [Show full text]
  • Experiencing the Glory Days of Vinyl
    Experiencing the Glory Days of Vinyl Editor’s note: Record Store/Vinyl Appreciation Day is April 22, 2017. For participating stores in RI: http://www.recordstoreday.com/Stores?state=RI – there is also more info below this article. There was a point in time when listening to your favorite album was an actual experience rather than just an accompaniment for your car ride or wallpaper behind a study session in your college dorm. This unique type of experience required you to sit down by a record player, maybe put on some headphones for maximum musical teleportation, and give your undivided attention as you entered an imagined world of musical exploration. A key component of this (possibly literal) “trip” was something now considered an ancient artifact of years past: liner notes. Whether you were following along word for word with the lyrics to each song or browsing acknowledgments during the solos, there was often much more to discover than just the music flowing through your speaker cables. In fact, much of my arguably useless but extensive knowledge of music trivia is attributed to studying the producers, engineers, musicians and songwriters on each – I started to say “track,” but that’s a CD thing with place in this article – “cut,” I believe is the correct word. Before social media became a magnifying glass into every celebrity’s life, there was this added element of mystery. The album artwork and inside sleeve were sometimes the only way we could get a glimpse into the studio sessions, who worked on the album, and in some instances what the band actually looked like! Sure there was the occasional magazine poster/article from popular music magazines such as Creem, Rolling Stone, Billboard and Circus, but you also had to go to a physical store and purchase them.
    [Show full text]
  • Read Razorcake Issue #27 As A
    t’s never been easy. On average, I put sixty to seventy hours a Yesterday, some of us had helped our friend Chris move, and before we week into Razorcake. Basically, our crew does something that’s moved his stereo, we played the Rhythm Chicken’s new 7”. In the paus- IInot supposed to happen. Our budget is tiny. We operate out of a es between furious Chicken overtures, a guy yelled, “Hooray!” We had small apartment with half of the front room and a bedroom converted adopted our battle call. into a full-time office. We all work our asses off. In the past ten years, That evening, a couple bottles of whiskey later, after great sets by I’ve learned how to fix computers, how to set up networks, how to trou- Giant Haystacks and the Abi Yoyos, after one of our crew projectile bleshoot software. Not because I want to, but because we don’t have the vomited with deft precision and another crewmember suffered a poten- money to hire anybody to do it for us. The stinky underbelly of DIY is tially broken collarbone, This Is My Fist! took to the six-inch stage at finding out that you’ve got to master mundane and difficult things when The Poison Apple in L.A. We yelled and danced so much that stiff peo- you least want to. ple with sourpusses on their faces slunk to the back. We incited under- Co-founder Sean Carswell and I went on a weeklong tour with our aged hipster dancing.
    [Show full text]
  • Box of Frogs Box of Frogs Mp3, Flac, Wma
    Box Of Frogs Box Of Frogs mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Box Of Frogs Country: Canada Released: 1984 Style: Blues Rock, Arena Rock MP3 version RAR size: 1384 mb FLAC version RAR size: 1915 mb WMA version RAR size: 1277 mb Rating: 4.1 Votes: 635 Other Formats: DMF VOX VQF AC3 MP4 DTS ASF Tracklist Hide Credits Back Where I Started A1 3:54 Harmonica – Mark FelthamKeyboards – Peter-John Vettese* Harder A2 3:44 Lead Guitar, Backing Vocals, Percussion – Ray Majors Another Wasted Day A3 4:12 Keyboards – Peter-John Vettese* Love Inside You A4 2:47 Slide Guitar, Lead Guitar – Dzal* The Edge A5 4:02 Slide Guitar – Rory Gallagher B1 Two Steps Ahead 4:33 Into The Dark B2 4:07 Lead Guitar – Dzal*Slide Guitar, Sitar [Electric] – Rory GallagherTrumpet – Guy Barker Just A Boy Again B3 5:38 Lead Guitar – Dzal*Piano – Peter-John Vettese* Poor Boy B4 4:26 Piano – Geraint Watkins Companies, etc. Manufactured By – CBS Records Canada Ltd. Distributed By – CBS Records Canada Ltd. Copyright (c) – CBS Inc. Phonographic Copyright (p) – CBS Inc. Credits Bass, Backing Vocals, Percussion, Synthesizer – Paul Samwell-Smith Design – Mark Larson Drums, Percussion, Backing Vocals – Jim McCarty Keyboards – Max Middleton (tracks: A2, A4, A5, B2) Lead Guitar – Jeff Beck (tracks: A1, A3, B1, B4) Lead Vocals, Acoustic Guitar, Electric Guitar, Backing Vocals, Percussion, Synthesizer – John Fiddler Mixed By – Gary Edwards Photography By – Chris Dreja, Peter Wood Producer – Paul Samwell-Smith Recorded By – Max Norman Rhythm Guitar, Lead Guitar, Backing
    [Show full text]
  • Marygold Manor DJ List
    Page 1 of 143 Marygold Manor 4974 songs, 12.9 days, 31.82 GB Name Artist Time Genre Take On Me A-ah 3:52 Pop (fast) Take On Me a-Ha 3:51 Rock Twenty Years Later Aaron Lines 4:46 Country Dancing Queen Abba 3:52 Disco Dancing Queen Abba 3:51 Disco Fernando ABBA 4:15 Rock/Pop Mamma Mia ABBA 3:29 Rock/Pop You Shook Me All Night Long AC/DC 3:30 Rock You Shook Me All Night Long AC/DC 3:30 Rock You Shook Me All Night Long AC/DC 3:31 Rock AC/DC Mix AC/DC 5:35 Dirty Deeds Done Dirt Cheap ACDC 3:51 Rock/Pop Thunderstruck ACDC 4:52 Rock Jailbreak ACDC 4:42 Rock/Pop New York Groove Ace Frehley 3:04 Rock/Pop All That She Wants (start @ :08) Ace Of Base 3:27 Dance (fast) Beautiful Life Ace Of Base 3:41 Dance (fast) The Sign Ace Of Base 3:09 Pop (fast) Wonderful Adam Ant 4:23 Rock Theme from Mission Impossible Adam Clayton/Larry Mull… 3:27 Soundtrack Ghost Town Adam Lambert 3:28 Pop (slow) Mad World Adam Lambert 3:04 Pop For Your Entertainment Adam Lambert 3:35 Dance (fast) Nirvana Adam Lambert 4:23 I Wanna Grow Old With You (edit) Adam Sandler 2:05 Pop (slow) I Wanna Grow Old With You (start @ 0:28) Adam Sandler 2:44 Pop (slow) Hello Adele 4:56 Pop Make You Feel My Love Adele 3:32 Pop (slow) Chasing Pavements Adele 3:34 Make You Feel My Love Adele 3:32 Pop Make You Feel My Love Adele 3:32 Pop Rolling in the Deep Adele 3:48 Blue-eyed soul Marygold Manor Page 2 of 143 Name Artist Time Genre Someone Like You Adele 4:45 Blue-eyed soul Rumour Has It Adele 3:44 Pop (fast) Sweet Emotion Aerosmith 5:09 Rock (slow) I Don't Want To Miss A Thing (Cold Start)
    [Show full text]
  • Hillbilly Heroin(E) Lauren Audrey Tussey Tussey4@Marshall.Edu
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2015 Hillbilly heroin(e) Lauren Audrey Tussey tussey4@marshall.edu Follow this and additional works at: http://mds.marshall.edu/etd Part of the Appalachian Studies Commons, and the Nonfiction Commons Recommended Citation Tussey, Lauren Audrey, "Hillbilly heroin(e)" (2015). Theses, Dissertations and Capstones. Paper 960. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact zhangj@marshall.edu. HILLBILLY HEROIN(E) A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in English by Lauren Audrey Tussey Approved by Dr. Rachael Peckham, Committee Chairperson Dr. Carrie Oeding Dr. Cody Lumpkin Marshall University December 2015 ii Lauren Audrey Tussey ALL RIGHTS RESERVED iii ACKNOWLEDGEMENTS The literary journal Pithead Chapel possesses First Serial Rights and nonexclusive Electronic Archival Rights to “Father’s Fence” as of June 2015. iv DEDICATIONS This work is dedicated to my mother, Laura Tussey, who has always been a brilliant inspiration to me through her strength and wisdom; and to my mentors, Rachael Peckham and A.E. Stringer, who have guided me through my education and provided me with the skills I needed to find my voice. I appreciate you all. v The following manuscript
    [Show full text]
  • Precious but Not Precious UP-RE-CYCLING
    The sounds of ideas forming , Volume 3 Alan Dunn, 22 July 2020 presents precious but not precious UP-RE-CYCLING This is the recycle tip at Clatterbridge. In February 2020, we’re dropping off some stuff when Brigitte shouts “if you get to the plastic section sharpish, someone’s throwing out a pile of records.” I leg it round and within seconds, eyes and brain honed from years in dank backrooms and charity shops, I smell good stuff. I lean inside, grabbing a pile of vinyl and sticking it up my top. There’s compilations with Blondie, Boomtown Rats and Devo and a couple of odd 2001: A Space Odyssey and Close Encounters soundtracks. COVER (VERSIONS) www.alandunn67.co.uk/coverversions.html For those that read the last text, you’ll enjoy the irony in this introduction. This story is about vinyl but not as a precious and passive hands-off medium but about using it to generate and form ideas, abusing it to paginate a digital sketchbook and continuing to be astonished by its magic. We re-enter the story, the story of the sounds of ideas forming, after the COVER (VERSIONS) exhibition in collaboration with Aidan Winterburn that brings together the ideas from July 2018 – December 2019. Staged at Leeds Beckett University, it presents the greatest hits of the first 18 months and some extracts from that first text that Aidan responds to (https://tinyurl.com/y4tza6jq), with me in turn responding back, via some ‘OUR PRICE’ style stickers with quotes/stats. For the exhibition, the mock-up sleeves fabricated by Tom Rodgers look stunning, turning the digital detournements into believable double-sided artefacts.
    [Show full text]
  • Music for Guitar
    So Long Marianne Leonard Cohen A Bm Come over to the window, my little darling D A Your letters they all say that you're beside me now I'd like to try to read your palm then why do I feel so alone G D I'm standing on a ledge and your fine spider web I used to think I was some sort of gypsy boy is fastening my ankle to a stone F#m E E4 E E7 before I let you take me home [Chorus] For now I need your hidden love A I'm cold as a new razor blade Now so long, Marianne, You left when I told you I was curious F#m I never said that I was brave It's time that we began E E4 E E7 [Chorus] to laugh and cry E E4 E E7 Oh, you are really such a pretty one and cry and laugh I see you've gone and changed your name again A A4 A And just when I climbed this whole mountainside about it all again to wash my eyelids in the rain [Chorus] Well you know that I love to live with you but you make me forget so very much Oh, your eyes, well, I forget your eyes I forget to pray for the angels your body's at home in every sea and then the angels forget to pray for us How come you gave away your news to everyone that you said was a secret to me [Chorus] We met when we were almost young deep in the green lilac park You held on to me like I was a crucifix as we went kneeling through the dark [Chorus] Stronger Kelly Clarkson Intro: Em C G D Em C G D Em C You heard that I was starting over with someone new You know the bed feels warmer Em C G D G D But told you I was moving on over you Sleeping here alone Em Em C You didn't think that I'd come back You know I dream in colour
    [Show full text]