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George Harrison
COPYRIGHT 4th Estate An imprint of HarperCollinsPublishers 1 London Bridge Street London SE1 9GF www.4thEstate.co.uk This eBook first published in Great Britain by 4th Estate in 2020 Copyright © Craig Brown 2020 Cover design by Jack Smyth Cover image © Michael Ochs Archives/Handout/Getty Images Craig Brown asserts the moral right to be identified as the author of this work A catalogue record for this book is available from the British Library All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins. Source ISBN: 9780008340001 Ebook Edition © April 2020 ISBN: 9780008340025 Version: 2020-03-11 DEDICATION For Frances, Silas, Tallulah and Tom EPIGRAPHS In five-score summers! All new eyes, New minds, new modes, new fools, new wise; New woes to weep, new joys to prize; With nothing left of me and you In that live century’s vivid view Beyond a pinch of dust or two; A century which, if not sublime, Will show, I doubt not, at its prime, A scope above this blinkered time. From ‘1967’, by Thomas Hardy (written in 1867) ‘What a remarkable fifty years they -
Yesterday (Beatles Song)
Yesterday (Beatles song) "Yesterday" is a song by English rock band the Bea- whether they had ever heard it before. Eventually it be- tles written by Paul McCartney (credited to Lennon– came like handing something in to the police. I thought McCartney) first released on the album Help! in the if no one claimed it after a few weeks then I could have United Kingdom in August 1965. it.”[5] “Yesterday”, with the B-side "Act Naturally", was re- Upon being convinced that he had not robbed anyone leased as a single in the United States in September 1965. of their melody, McCartney began writing lyrics to suit While it topped the American chart in October the song it. As Lennon and McCartney were known to do at the also hit the British top 10 in a cover version by Matt time, a substitute working lyric, titled “Scrambled Eggs” Monro. The song also appeared on the UK EP “Yester- (the working opening verse was “Scrambled eggs/Oh my day” in March 1966 and the Beatles’ US album Yesterday baby how I love your legs/Not as much as I love scram- and Today released in June 1966. bled eggs”), was used for the song until something more McCartney’s vocal and acoustic guitar, together with a suitable was written. In his biography, Paul McCartney: string quartet, essentially made for the first solo perfor- Many Years from Now, McCartney recalled: “So first of mance of the band. It remains popular today with more all I checked this melody out, and people said to me, 'No, than 2,200 cover versions[2] and is one of the most cov- it’s lovely, and I'm sure it’s all yours.' It took me a little ered songs in the history of recorded music.[note 1] “Yes- while to allow myself to claim it, but then like a prospec- terday” was voted the best song of the 20th century in a tor I finally staked my claim; stuck a little sign on it and said, 'Okay, it’s mine!' It had no words. -
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960S and 1970S by Kathryn B. C
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960s and 1970s by Kathryn B. Cox A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology: History) in the University of Michigan 2018 Doctoral Committee: Professor Charles Hiroshi Garrett, Chair Professor James M. Borders Professor Walter T. Everett Professor Jane Fair Fulcher Associate Professor Kali A. K. Israel Kathryn B. Cox [email protected] ORCID iD: 0000-0002-6359-1835 © Kathryn B. Cox 2018 DEDICATION For Charles and Bené S. Cox, whose unwavering faith in me has always shone through, even in the hardest times. The world is a better place because you both are in it. And for Laura Ingram Ellis: as much as I wanted this dissertation to spring forth from my head fully formed, like Athena from Zeus’s forehead, it did not happen that way. It happened one sentence at a time, some more excruciatingly wrought than others, and you were there for every single sentence. So these sentences I have written especially for you, Laura, with my deepest and most profound gratitude. ii ACKNOWLEDGMENTS Although it sometimes felt like a solitary process, I wrote this dissertation with the help and support of several different people, all of whom I deeply appreciate. First and foremost on this list is Prof. Charles Hiroshi Garrett, whom I learned so much from and whose patience and wisdom helped shape this project. I am very grateful to committee members Prof. James Borders, Prof. Walter Everett, Prof. -
Reggie Workman Working Man
APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] Obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne -
In Studio Guest Peter Asher
1 In studio guest Peter Asher 1 2 Playlist Sept. 29th 2013 Abbey Road out this week in 1969 FEATURED LP of the morning 9AM The Beatles – Mean Mr. Mustard - Abbey Road Recorded July 24th. Written in India as we heard on the White LP demos from Esher. When the band is playing it during the Let It Be sessions Pam was then a Shirley. Lennon 1.00 The Beatles - Her Majesty - Abbey Road The Beatles – Polythene Pam - Abbey Road Recorded July 25th w/ “She Came in Through The Bathroom Window “. The only Beatles song inspired by a woman in New Jersey who dressed in polythene (but not jack boots or kilts). Written in India, demoed for the White LP. Lennon 1.00 2 3 The Beatles – She Came In Through The Bathroom Window - Abbey Road Recorded July 25th 1969. Written while in NYC to announce Apple. Based on a true story about some Scruffs breaking into Paul house at St. John’s Wood. Paul wrote w/ Joe Cocker in mind…who later coved it as he did with most Beatle songs. McCartney 1.00 The Beatles – Golden Slumbers - Abbey Road Recorded w/ “Carry That Weight” as one song on July 2nd 1969 Based on a 400 year old poem by Thomas Decker whose original words were: Golden Slumbers kiss your eyes; Smiles awake you when you rise. Sleep pretty wantons do not cry, And I will sing a lullaby…..Paul wrote the rest of the lyrics. 3 4 McCartney .7 / Decker .3 The Beatles – Carry That Weight - Abbey Road Recorded July 2nd 1969 Featuring all 4 fabs on “Carry That Weight” but Ringo bowed out on the “I never give you my pillow” line. -
ABBEY ROAD and in the End… the Beatles Come Together for One Last Studio Hurrah
ABBEY ROAD And in the end… The Beatles come together for one last studio hurrah. Steve Harnell wipes a tear away from his eye 106 XXXXX Dr. Ronald Kunze Ronald Dr. Hallowed ground: the junction of Abbey Road and Grove End Road in St John’s Wood in 1969, with the zebra crossing and the studio in the background or the romantics among us, absence from the charts of a year or Recording sessions were a stop-start Abbey Road is The Beatles’ more, although almost unheard-of at affair. The backing track to its darkest swansong, a concerted effort the time, may have alleviated the moment, the biting blues of I Want You by the band to return to the tension which had built up. Perhaps a (She’s So Heavy), was laid down on 22 Fcamaraderie so evident in their solo album or four could have slipped February 1969, before a lengthy gap earlier work, but it’s arguable it also out; Harrison’s backlog of songs, in while Ringo filmed The Magic represents one of the great ‘what particular, was astonishing, and would Christian, a freewheeling black comedy ifs?’ of their career. indeed result in his 1971 double LP starring Peter Sellers, various Monty Thanks to Paul McCartney’s opus All Things Must Pass. Financial Python members and Raquel Welch. workaholic obsession with keeping the disagreements and management issues After a brief session where the band band going at all costs, the quartet which had plagued the band since worked on early ideas for You Never were reconvened for a fresh set of Brian Epstein’s death and the arrival of Give Me Your Money on 6 May, it was recording work just three weeks after Allen Klein could have been smoothed eight weeks before recording began in completing the fractious, debilitating out with less time pressures. -
2 3 10000 Maniacs
A A 10000 Maniacs - Candy Everybody Wants 3 Doors Down - Here Without You AIN0101/8 4 Non Blondes - What’s Up DKK086/7 6 - Promise’ve MM6313/2 DKK082/4 3 Doors Down - Kryptonite AIN0103/11 0.666666666666667 - Sukiyaki DKK089/16 911 - All I Want Is You SF121/7 10cc - Donna SF090/15 3 Doors Down - Let Me Go NM2061/1 411 - Dumb EZH039/5 911 - How Do You Want Me To Love You 10cc - Dreadlock Holiday SF023/12 3 Doors Down - Loser CB40211/8 411 - Teardrops SF225/6 ET012/10 10cc - I’m Mandy SF079/3 3 Doors Down - Road I’m On SC8817/10 411 And Ghostface - On My Knees EZH035/5 911 - Little Bit More SF130/4 10cc - I’m Not In Love DKK082/14 3 Doors Down - So I Need You CB40211/10 42nd Stand - Lullabye Of Broadway LEGBR02/8 911 - More Than A Woman ET015/3 10cc - Rubber Bullets EK026/17 3 Doors Down - When I’m Gone AIN0064-2/5 4him - Basics Of Life CBSE5/-- 911 - Party People (Friday Night) SF118/9 10cc - Things We Do For Love SFMW832/11 3 Doors Down (Vocal) - Away From The Sun 4him - For Future Generations CBSE4/-- 911 - Private Number ET021/10 10cc - Wall Street Shuffle SFMW814/1 CB40340/3 4him - Psalm 112 PR3019/2 98 - Way You Want Me To SC8702/7 112 - Peaches And Cream SC8702/2 3 Doors Down (Vocal) - Be Like That CB40211/3 5 Seconds Of Summer - Amnesia MRH121/3 98 Degrees - Because Of You SF134/8 12 Gauge - Dunkie Butt SC8892/4 3 Doors Down (Vocal) - Behind Those Eyes 5 Seconds Of Summer - Don’t Stop SF340/17 98 Degrees - Can’t Get Enough PHM1310/1 THMR0507/5 12 Stones - Far Away THMR0411/16 5 Seconds Of Summer - Good Girls MRH123/5 98 Degrees -
The Sunrise Jones Song List C/O Cleveland Music Group
The Sunrise Jones Song List c/o Cleveland Music Group Take on Me ‐ A‐ha Dancing Queen ‐ ABBA Shook Me All Night Long ‐ AC/DC Sweet Emotion ‐ Aerosmith Melissa ‐ Allman Brothers The Criminal ‐ Apple, Fionna What a Wonderful World ‐ Armstrong, Louis Love Shack ‐ B‐52's, The Walk Like an Egyptian ‐ Bangles, The Beatles Abbey Road Medley – You Never Give Me Your Money Abbey Road Medley – Sun King Abbey Road Medley – Mean Mr. Mustard Abbey Road Medley – Polythene Pam Abbey Road Medley – She Came In Through The Bathroom Window Abbey Road Medley – Golden Slumbers Abbey Road Medley – Carry That Weight Abbey Road Medley – The End Blackbird ‐ Beatles, The Birthday ‐ Beatles, The Don't Let Me Down ‐ Beatles, The Hey Jude ‐ Beatles, The I Saw Her Standing There ‐ Beatles, The Two of Us ‐ Beatles, The Twist and Shout ‐ Beatles, The Where It's At ‐ Beck Stayin' Alive ‐ Bee Gees Livin' On a Prayer ‐ Bon Jovi Golden Years ‐ Bowie, David Boot Scootin' Boogie ‐ Brooks and Dunn Friends in Low Places ‐ Brooks, Garth Just What I Needed ‐ Cars, The Folsom Prison Blues ‐ Cash, Johnny Twist ‐ Checker, Chubby Le Freak ‐ Chic Wonderful Tonight ‐ Clapton, Eric Feelin' Alright ‐ Cocker, Joe Do You Love Me? ‐ Contours, The Pump It Up ‐ Costello, Elvis & the Attractions Green River ‐ Credence Clearwater Revival Just Like Heaven ‐ Cure, The Achy Breaky Heart ‐ Cyrus, Billy Ray Party in the U.S.A. ‐ Cyrus, Miley Get Lucky ‐ Daft Punk Shout ‐ Day, Otis Lady in Red ‐ De Burgh, Chris You Spin Me Round (Like a Record) ‐ Dead or Alive Groove Is in the Heart ‐ Deee‐Lite Sweet -
Gestern Und Heute the "DECCA-Tree"
Andreas GERNEMANN [Universität zu Köln] „DECCA-Tree“ - gestern und heute The "DECCA-Tree" - past and present Die Mikrophontechnik, die als „DECCA-Tree“ bekannt ist, wurde in den 50er und 60er Jahren empirisch bei der Firma DECCA in Großbritannien für stereophone Zweikanalaufnahmen bei Kammer- und sinfonischer Musik entwickelt. Heute, im Zeitalter des Surround-Tons, erfährt der „DECCA-Tree“ eine ungeahnte Renaissance. In der Literatur finden sich jedoch nur wenige Hinweise zu diesem Aufnahmeverfahren. Dieser Aufsatz versucht nun einerseits die historische Entwicklung der Mikrophonanordnung, andererseits die aktuelle Praxis für den Stereo- und Surroundton zu beleuchten. The microphone technique known as the "DECCA Tree" was an experimental development of the DECCA Company in the nineteenfifties and sixties for stereophonic twochannel recordings of symphonic and chamber music. Now, with today's multichannel surround sound the "DECCA Tree" experiences an unexpected revival. But only few bibliographical references exist on this technique. This paper attempts a contemplation of the historical development of this microphone technique and the current practice in stereo and surround sound. 1. Geschichtliche Betrachtung Es gibt kaum eine vergleichbare Mikrophonanordnung, die die Gemüter unter den Tonschaffenden derzeit so beschäftigt wie der sogenannte „DECCA-Tree“. Gerade heute, wo im Zeitalter von Surroundton diese Mikrophonanordnung eine ungeahnte Renaissance erfährt (siehe Kap. 2.3), ranken sich verschiedene Entstehungsgeschichten um diese, und es gibt die unterschiedlichsten Anleitungen zur „einzig richtigen“ Ausführung des Trees. Die Gründe hierfür mögen vielfältig sein. Sicherlich hängt dies u.a. damit zusammen, daß in einschlägigen deutschen und internationalen Lehrbüchern diese Anordnung gar nicht oder nur am Rande (z.B. in [9; 21; 54]) erwähnt wird. -
The BBC Band: Song List
The BBC band: Song List THE KINKS All Of The Day And All Of The Night ABBEY ROAD Album You Really Got Me Come Together Something THE DAVE CLARK FIVE Maxwell’s Silver Hammer Because Oh Darling Coming Home Octopus’s Garden I Want You (She’s So Heavy) THE WHO Here Comes The Sun Can’t Explain Because Substitute You Never Give Me Your Money Sun King THE HOLLIES Mean Mr. Mustard Bus Stop Polythene Pam Look Through Any Window She Came In Through The Bathroom Window Golden Slumbers BADFINGER Carry That Weight Come And Get It The End Her Majesty THREE DOG NIGHT Celebrate RUBBER SOUL Album Drive My Car THE EASY BEATS Norwegian Wood Friday On My Mind You Won’t See Me Nowhere Man PAUL REVERE & THE RAIDERS Think For Yourself Kicks The Word Michelle FOUR SEASONS What Goes On Big Girls Girl Sherry I’m Looking Through You Rag Doll In My Life Can’t Take My Eyes Off Of You Wait If I Needed Someone THE BYRDS Run For Your Life Mr. Tambourine Man Turn, Turn, Turn GRASS ROOTS Rock n Roll Star Midnight Confessions Wait A Million Years BEE GEES Two Divided By Love Run To Me To Love Somebody Words Lonely Days, Lonely Nights 1910 Mining Disaster - Golden Slumbers ZOMBIES - Good Day Sunshine Time Of The Season - Got To Get You Into My Life She’s Not There - Hello Goodbye - Here Comes The Sun DEEP PURPLE - Her Majesty Hush - Hide Your Love Away - I Feel Fine PROCOL HARUM - If I Needed Someone Whiter Shade Of Pale - I’m Looking Through You - In My Life WINGS - I Should Have Known Better Jet - I Want To Hold Your Hand - I Want To Tell You - I Want You (She’s So Heavy) - If I Fell - If I Needed Someone - I’ll Be Back SONG LIST ALPHABETICAL ORDER - Kansas City - Kicks “PAUL REVERE & THE RAIDERS” - A Hard Day’s Night - Lady Madonna - All Day And All Of The Night “THE KINKS” - Look Through Any Window “THE HOLLIES” - All My Loving - Maxwell’s Silver Hammer - And Your Bird Can Sing - Mean Mr. -
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. -
Music Guide 13 the Beat 180 Master Class by ELDAR DJANGIROV 194 Blindfold Test Where to Study Jazz 2017 24 Players 182 Pro Session Dr
October 2016 VOLUME 83 / NUMBER 10 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin