The BG News October 1, 1971
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飞鸟ä¹é ˜Ÿ 音樂專輯 串行 (专辑 & 时间表) Sweetheart of the Rodeo https://zh.listvote.com/lists/music/albums/sweetheart-of-the-rodeo-928243/songs Fifth Dimension https://zh.listvote.com/lists/music/albums/fifth-dimension-223578/songs Mr. Tambourine Man https://zh.listvote.com/lists/music/albums/mr.-tambourine-man-959637/songs Younger Than Yesterday https://zh.listvote.com/lists/music/albums/younger-than-yesterday-2031535/songs Ballad of Easy Rider https://zh.listvote.com/lists/music/albums/ballad-of-easy-rider-805125/songs (Untitled) https://zh.listvote.com/lists/music/albums/%28untitled%29-158575/songs Byrds https://zh.listvote.com/lists/music/albums/byrds-1018579/songs Dr. Byrds & Mr. Hyde https://zh.listvote.com/lists/music/albums/dr.-byrds-%26-mr.-hyde-1253841/songs Byrdmaniax https://zh.listvote.com/lists/music/albums/byrdmaniax-1018576/songs Byrdmaniax https://zh.listvote.com/lists/music/albums/byrdmaniax-1018576/songs Farther Along https://zh.listvote.com/lists/music/albums/farther-along-1397186/songs Easy Rider https://zh.listvote.com/lists/music/albums/easy-rider-1278371/songs History of The Byrds https://zh.listvote.com/lists/music/albums/history-of-the-byrds-16843754/songs The Byrds https://zh.listvote.com/lists/music/albums/the-byrds-16245109/songs There Is a Season https://zh.listvote.com/lists/music/albums/there-is-a-season-7782757/songs 20 Essential Tracks from the Boxed https://zh.listvote.com/lists/music/albums/20-essential-tracks-from-the-boxed-set%3A- Set: 1965–1990 1965%E2%80%931990-38341997/songs The -
Songs About Joni
Songs About Joni Compiled by: Simon Montgomery, © 2003 Latest Update: Dec. 28, 2020 Please send comments, corrections or additions to: [email protected] © Ed Thrasher, March 1968 Song Title Musician Album / CD Title 1967 Lady Of Rohan Chuck Mitchell Unreleased 1969 Song To A Cactus Tree Graham Nash Unreleased Why, Baby Why Graham Nash Unreleased Guinnevere Crosby, Stills & Nash Crosby, Stills & Nash Pre-Road Downs Crosby, Stills & Nash Crosby, Stills & Nash Portrait Of The Lady As A Young Artist Seatrain Seatrain (Debut LP) 1970 Only Love Can Break Your Heart Neil Young After The Goldrush Our House Crosby, Stills, Nash & Young Déjà Vu 1971 Just Joni Mitchell Charles John Quarto Unreleased Better Days Graham Nash Songs For Beginners I Used To Be A King Graham Nash Songs For Beginners Simple Man Graham Nash Songs For Beginners Love Has Brought Me Around James Taylor Mudslide Slim & The Blue Horizon You Can Close Your Eyes James Taylor Mudslide Slim & The Blue Horizon 1972 New Tune James Taylor One Man Dog 1973 It's Been A Long Time Eric Andersen Stages: The Lost Album You'’ll Never Be The Same Graham Nash Wild Tales Song For Joni Dave Van Ronk songs for ageing children Sweet Joni Neil Young Unreleased Concert Recording 1975 She Lays It On The Line Ronee Blakley Welcome Mama Lion David Crosby / Graham Nash Wind On The Water 1976 I Used To Be A King David Crosby / Graham Nash Crosby-Nash LIVE Simple Man David Crosby / Graham Nash Crosby-Nash LIVE Mama Lion David Crosby / Graham Nash Crosby-Nash LIVE Song For Joni Denise Kaufmann Dream Flight Mellow -
Montana Kaimin, April 17, 1981 Associated Students of the University of Montana
University of Montana ScholarWorks at University of Montana Associated Students of the University of Montana Montana Kaimin, 1898-present (ASUM) 4-17-1981 Montana Kaimin, April 17, 1981 Associated Students of the University of Montana Let us know how access to this document benefits ouy . Follow this and additional works at: https://scholarworks.umt.edu/studentnewspaper Recommended Citation Associated Students of the University of Montana, "Montana Kaimin, April 17, 1981" (1981). Montana Kaimin, 1898-present. 7140. https://scholarworks.umt.edu/studentnewspaper/7140 This Newspaper is brought to you for free and open access by the Associated Students of the University of Montana (ASUM) at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Kaimin, 1898-present by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Editors debate news philosophies By Doug O’Harra of the Society of Professional Montana Kaimin Reporter Journalists about a controversy arising out of the Weekly News’ , Two nearly opposite views of reporting of the trial and senten journalism and newspaper cing, and a Missoulian colum coverage confronted one another nist’s subsequent reply several yesterday afternoon as a Mon days later. tana newspaper editor defended On Sept. 3, Daniel Schlosser, a his paper’s coverage of the trial 36-year-old Whitefish man, was and sentencing of a man con sentenced to three consecutive 15- victed of raping young boys. year terms in the Montana State Before about 70 people, packed Prison for three counts of sexual in the University of Montana assault. -
DESERT ROSE BAND~ACOUSTIC (Biography)
DESERT ROSE BAND~ACOUSTIC (biography) ROCK & ROLL HALL OF FAME MEMBER CHRIS HILLMAN AND THE DESERT ROSE BAND~ACOUSTIC TO PERFORM IN A RARE APPEARANCE Joining Chris Hillman in this acoustic appearance are John Jorgenson on guitar/mandolin, Herb Pedersen on guitar and Bill Bryson on bass. Chris Hillman was one of the original members of The Byrds, which also included Roger McGuinn, David Crosby, Gene Clark and Michael Clarke. The Byrds were inducted into the Rock & Roll Hall of Fame in 1991. After his departure from the Byrds, Hillman, along with collaborator Gram Parsons, was a key figure in the development of country-rock. Hillman virtually defined the genre through his seminal work with the Byrds and later bands, The Flying Burrito Brothers and Manassas with Steven Stills. In addition to his work as a musician, Hillman is also a successful songwriter and his songs have been recorded by artists as diverse as; Emmylou Harris, Patti Smith, The Oak Ridge Boys, Beck, Steve Earl, Peter Yorn,Tom Petty, and Dwight Yoakam. In the 1980s Chris formed The Desert Rose Band which became one of country music’s most successful acts throughout the 1980s and 1990s, earning numerous ‘Top 10’ and ‘Number 1’ hits. The band’s success lead to three Country Music Association Awards, and two Grammy nominations. Although the Desert Rose Band disbanded in the early 1990s, they performed a reunion concert in 2008 and have since played a few shows together in select venues. Herb Pedersen began his career in Berkeley, California in the early 1960′s playing 5 string banjo and acoustic guitar with artists such as Jerry Garcia, The Dillards, Old and in the Way, David Grisman and David Nelson. -
1715 Total Tracks Length: 87:21:49 Total Tracks Size: 10.8 GB
Total tracks number: 1715 Total tracks length: 87:21:49 Total tracks size: 10.8 GB # Artist Title Length 01 Adam Brand Good Friends 03:38 02 Adam Harvey God Made Beer 03:46 03 Al Dexter Guitar Polka 02:42 04 Al Dexter I'm Losing My Mind Over You 02:46 05 Al Dexter & His Troopers Pistol Packin' Mama 02:45 06 Alabama Dixie Land Delight 05:17 07 Alabama Down Home 03:23 08 Alabama Feels So Right 03:34 09 Alabama For The Record - Why Lady Why 04:06 10 Alabama Forever's As Far As I'll Go 03:29 11 Alabama Forty Hour Week 03:18 12 Alabama Happy Birthday Jesus 03:04 13 Alabama High Cotton 02:58 14 Alabama If You're Gonna Play In Texas 03:19 15 Alabama I'm In A Hurry 02:47 16 Alabama Love In the First Degree 03:13 17 Alabama Mountain Music 03:59 18 Alabama My Home's In Alabama 04:17 19 Alabama Old Flame 03:00 20 Alabama Tennessee River 02:58 21 Alabama The Closer You Get 03:30 22 Alan Jackson Between The Devil And Me 03:17 23 Alan Jackson Don't Rock The Jukebox 02:49 24 Alan Jackson Drive - 07 - Designated Drinke 03:48 25 Alan Jackson Drive 04:00 26 Alan Jackson Gone Country 04:11 27 Alan Jackson Here in the Real World 03:35 28 Alan Jackson I'd Love You All Over Again 03:08 29 Alan Jackson I'll Try 03:04 30 Alan Jackson Little Bitty 02:35 31 Alan Jackson She's Got The Rhythm (And I Go 02:22 32 Alan Jackson Tall Tall Trees 02:28 33 Alan Jackson That'd Be Alright 03:36 34 Allan Jackson Whos Cheatin Who 04:52 35 Alvie Self Rain Dance 01:51 36 Amber Lawrence Good Girls 03:17 37 Amos Morris Home 03:40 38 Anne Kirkpatrick Travellin' Still, Always Will 03:28 39 Anne Murray Could I Have This Dance 03:11 40 Anne Murray He Thinks I Still Care 02:49 41 Anne Murray There Goes My Everything 03:22 42 Asleep At The Wheel Choo Choo Ch' Boogie 02:55 43 B.J. -
ROGER Mcguinn
ROGER McGUINN Biography Jim McGuinn, later known as Roger, was already a veteran of the New York and Los Angeles music scene when he co-founded the group that would become the Byrds with Gene Clark and David Crosby in 1964. Prior to forming the Byrds, Roger toured and performed folk music with the Limeliters, Chad Mitchell Trio and Bobby Darin as a guitarist and banjo player. He was also the musical director and guitarist on Judy Collins #3. McGuinn, a Chicago native, studied at the Old Town School of Folk Music and was active on Chicago's folk scene, where he was strongly influenced as a teenager by Bob Gibson. Within a few weeks of finishing high school, McGuinn was working with the Limeliters in California, playing guitar and banjo on their album "Tonight: In Person." McGuinn is also on the Chad Mitchell Trio's albums: "Mighty Day on Campus" and The Chad Mitchell Trio at the Bitter End After touring for awhile with singer Bobby Darin, McGuinn moved to New York at Darin's request to work for his publishing company, TM Music, in the fabled Brill Building as a songwriter. He and Frank Gari co wrote the song "Beach Ball" and performed it with Darin, as the City Surfers, on a very rare single, July 1963. After hearing the Beatles for the first time at the Brill Building, Roger began playing folk songs to a rock beat in the coffee houses of Greenwich Village. His experiments in merging folk and rock didn't please the folk purist, so he moved to Los Angeles to work at the Troubadour. -
ARSC Journal, Fall 1989 195 Book Reviews
Book Reviews The major problem some people will have with this book involves the criteria for inclusion. But even here it is not too difficult to fault Stambler's reasoning. The major names are here, and covered well. The lesser-known artists are for the most part not included, or mentioned in other entries. However, there are some admirable examples of influential but lesser-known, bands or artists given full coverage, (e.g., The Blasters, Willy Deville, Nils Lofgren, Greg Kihn, Richard Hell and others). And some attempt has been made to include representative heavy metal, rap and punk artists, though not many appear. While it is obvious that in such an all-encompassing work there are bound to be some errors of omission, how could Stambler leave out a band such as R.E.M.? And how can there be an entry for Ian Matthews' semi-obscure band Southern Comfort, yet nothing for Richard Thompson or Fairport Convention? While the book seems to be mainly accurate and fact-filled, some errors did creep in. In the Mike Bloomfield entry, the late guitarist was credited for a solo album by his cohort Nick Gravenites; The Byrds' 1971 LP "Byrdmaniax" appears without the final letter, and at one point Nils Lofgren's pro-solo band Grin is referred to as Grim. There are no doubt a few others, but admittedly none of these errors are fatal. And though the inclusion of 110 pages of appendices in the form of Gold/Platinum Records and Grammy/Oscar winners is nice, I think most of us would prefer an index. -
ARSC Journal, Vol
Book Reviews greatness, one also realizes how hard he struggled and how much the resulting success validated his life. One reservation concerns the absence of specific musical examples, with which the reader might more readily comprehend the awesome technical complexity of Godowsky's music. Most of his compositions are long out-of-print, and a few specific references, in the case of Godowsky's arrangements of Chopin's Etudes, for example, would have helped Nicholas further explain some of his points. In addition to the basic text, four extensive appendices are provided: a list of Godowsky's compositions, a discography and brief discussion of his recordings, a se lection of programmes, and a "Draft Plan for the World Synod of Music and Musi cians." (This musical master plan was something of an impractical monstrosity, guided by the pianist's typically naive high-mindedness.) It was a relief to discover that Nicholas, in his discussion of Godowsky's recordings, shares this reviewer's largely negative assessment of them. Once again, we are indebted to APR for making us aware of someone most of us have chosen to ignore. This project obviously was a labor of love for Jeremy Nicholas and we must be grateful for his scholarship and persistence in bringing it to fruition. Reviewed by Walter Pate. The Encyclopedia of Pop, Rock and Soul. Revised Edition. By Irwin Stambler. New York: St. Martin's Press, 1989; 881 pp., illus., ISBN 0-312-02573-4. Hardbound. $35.00. Perhaps a day will come when a multi-volume encyclopedia of popular music will be published. -
''The Byrds Created Many, Many Pieces of Art· - High Art
REVIEWER: Mike Delaney ''The Byrds created many, many pieces of art· - high art. Approximately perfect" - says Michael Delaney. · · Basically, the Byrds have been two: '(McGuinn, Clarke, Crosby, Clark and Hillman; McGuinn, Parsons, White, Battin. The original line-up (a quintet to a quartet to a trio) cut five albums up to '.anil "Gene Clark, Chris Hillman, David Crosby, Next, just before "The Notorious Byrd including "The Notorious Byrd Brothers". Roger McGuinn, Michael Clarke". - The Brothers'', David Crosby got fired for being Six, if you include "Greatest Hits Vol. I:"; Byrds; E.M.I. Stereo. SYLAA.8754. tOO' politieal; Michael Clarke split before seven, ,if you include "Preflyte" - a "Greatest .Hits Vol. l." - The Byrds. C.B.S. ''Sweetheart .. or The Rodeo" and Chris collector's piece made from old demo tapes. Stereo. SBP.233440. Hillman followed straight after. Clarence "Dr. Byrds & Mr. Hyde" /"Ballad Of Easy "Greatest Hits Vol. 2." - The ByrdS: C.B.S. White, John York, Kevin Kelly, Gram Rider!' albums sort of bridged the gap . Stereo. SBP.234256. Parsons, Gene Parson, came in, saw the band between Byrds Phase One And Two. A bit through "Sweetheart Of The Rodeo" and shaky in places. well into Byrds Phase Two, then, with the · ,Now, the 'Byrds are gone. McGuinn split , "There are only a few groups with value, exception of White and Gene Parsons, split. Byrds phase two in order to get the originals who relate to values beyond the sound of · Gram Parsons ('I'm your toy ... I'm your .back: ·Also, in between band sessions music. There are only a handful of those old boy') went over to Hillman and formed (roughly two albums a year), he intends to with th'e power to reach to the edge .of ~he the Flying Burrito Brothers; John York work solo. -
GRAM PARSONS LYRICS Compiled by Robin Dunn & Chrissie Van Varik
GRAM PARSONS LYRICS Compiled by Robin Dunn & Chrissie van Varik. As performed in principal recordings (or demos) by or with Gram Parsons or, in the case of Gram Parsons compositions, performed by others. Gram often varied, adapted or altered the lyrics to non-Parsons compositions; those listed here are as sung by him. Gram’s birth name was Ingram Cecil Connor III. However, ‘Gram Parsons’ is used throughout this document. Following his father’s suicide, Gram’s mother Avis subsequently married Robert Parsons, whose surname Gram adopted. Born Ingram Cecil Connor III, 5th November 1946 - 19th September 1973 and credited as being the founder of modern ‘country-rock’, Gram Parsons was hugely influenced by The Everly Brothers and included a number of their songs in his live and recorded repertoire – most famously ‘Love Hurts’, a truly wonderful rendition with a young Emmylou Harris. He also recorded ‘Brand New Heartache’ and ‘Sleepless Nights’ – also the title of a posthumous album – and very early, in 1967, ‘When Will I Be Loved’. Many would attest that ‘country-rock’ kicked off with The Everly Brothers, and in the late sixties the album Roots was a key and acknowledged influence, but that is not to deny Parsons huge role in developing it. Gram Parsons is best known for his work within the country genre but he also mixed blues, folk, and rock to create what he called “Cosmic American Music”. While he was alive, Gram Parsons was a cult figure that never sold many records but influenced countless fellow musicians, from the Rolling Stones to The Byrds. -
WDAM Radio's History of the Byrds
WDAM Radio's Hit Singles History Of The Byrds # Artist Title Chart Comments Position/Year 01 Jet Set “The Only One I Adore” –/1964 Jim McGuinn, Gene Clark & David Crosby with studio musicians 02 Beefeaters “Please Let Me Love You” –/1964 03 Byrds “Mr. Tambourine Man” #1/1965 Jim McGuinn, Gene Clark, David Crosby, Michael Clarke & Chris Hillman. Only Jim McGuinn played on this recording with the Wrecking Crew studio musicians. 03A Bob Dylan “Mr. Tambourine Man” #6-Albums/ From Bringing It All Back Home. 1965 03B Brothers Four “Mr. Tambourine Man” #118-Albums/ Recorded in1964, but not issued until 1965.The 1965 Brothers Four had some management connection with Bob Dylan and had even shared some gigs. In late 1963, following JFK's assassination, the Brothers Four began looking at more serious material and were presented with some Bob Dylan demos. Among his songs the group chose to record was Mr. Tambourine Man. Bob Dylan has say over who first releases one of his songs and, since he didn't care for the Brothers Four's arrangement, it wasn't immediately issued. It appeared on their The Honey Wind Blows album following the Byrds' hit and Bob Dylan's own version. 04 Byrds “All I Really Want To Do” #40/1965 A-side of I’ll Feel A Whole Lot Better. 04A Cher “All I Really Want To Do” #15/1965 Cher’s first solo hit single. 04B Bob Dylan “All I Really Want To Do” #43-Albums/ From Another Side Of Bob Dylan. 1964 05 Byrds “I’ll Feel A Whole Lot Better” #103/1965 B-side of All I Really Want To Do. -
Copyrighted Material
c01.qxd 3/29/06 11:47 AM Page 1 1 Expecting to Fly The businessmen crowded around They came to hear the golden sound —Neil Young Impossible Dreamers For decades Los Angeles was synonymous with Hollywood—the silver screen and its attendant deities. L.A. meant palm trees and the Pacific Ocean, despotic directors and casting couches, a factory of illusion. L.A. was “the coast,” cut off by hundreds of miles of desert and mountain ranges. In those years Los Angeles wasn’t acknowl- edged as a musicCOPYRIGHTED town, despite producing MATERIAL some of the best jazz and rhythm and blues of the ’40s and ’50s. In 1960 the music business was still centered in New York, whose denizens regarded L.A. as kooky and provincial at best. Between the years 1960 and 1965 a remarkable shift occurred. The sound and image of Southern California began to take over, replacing Manhattan as the hub of American pop music. Producer Phil Spector took the hit-factory ethos of New York’s Brill Building 1 c01.qxd 3/29/06 11:47 AM Page 2 2 HOTEL CALIFORNIA songwriting stable to L.A. and blew up the teen-pop sound to epic proportions. Entranced by Spector, local suburban misfit Brian Wil- son wrote honeyed hymns to beach and car culture that reinvented the Golden State as a teenage paradise. Other L.A. producers followed suit. In 1965, singles recorded in Los Angeles occupied the No. 1 spot for an impressive twenty weeks, compared to just one for New York. On and around Sunset, west of old Hollywood before one reached the manicured pomp of Beverly Hills, clubs and coffee- houses began to proliferate.