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Beatles Cover Albums During the Beatle Period
Beatles Cover Albums during the Beatle Period As a companion to the Hollyridge Strings page, this page proposes to be a listing of (and commentary on) certain albums that were released in the United States between 1964 and April 1970. Every album in this listing has a title that indicates Beatles-related content and/or a cover that is a parody of a Beatles cover. In addition, the content of every album listed here is at least 50% Beatles-related (or, in the case of albums from 1964, "British"). Albums that are not included here include, for example, records named after a single Beatles song but which contain only a few Beatles songs: for example, Hey Jude, Hey Bing!, by Bing Crosby. 1964: Nineteen-sixty-four saw the first wave of Beatles cover albums. The earliest of these were released before the release of "Can't Buy Me Love." They tended to be quickly-recorded records designed to capitalize rapidly on the group's expanding success. Therefore, most of these albums are on small record labels, and the records themselves tended to be loaded with "filler." Possibly, the companies were not aware of the majority of Beatle product. Beattle Mash The Liverpool Kids Palace M-777 Side One Side Two 1. She Loves You 1. Thrill Me Baby 2. Why Don't You Set Me Free 2. I'm Lost Without You 3. Let Me Tell You 3. You Are the One 4. Take a Chance 4. Pea Jacket Hop 5. Swinging Papa 5. Japanese Beatles 6. Lookout for Charlie The label not only spells "Beatle" correctly but also lists the artist as "The Schoolboys." The liner notes show that this album was released before the Beatles' trip to America in February, 1964. -
Personal Branding from the Beatles
s esson in per h l so g na au l sb b n r a a n n e r d a i n k g & f r r r a o p m n a t l h a e m b o e r f a p t l l e e h s e l w t i t t i h l a I AmInf o the Walrus1/18 Side One 1. I Me Mine (Harrison) 2. I Am The Walrus (Lennon-McCartney) 3. Don’t Let Me Down (Lennon-McCartney) 4. The Continuing Story of Bungalow Bill (Lennon-McCartney) 5. Your Mother Should Know (Lennon-McCartney) Side Two 6. She Came In Through the Bathroom Window (Lennon-McCartney) 7. The Long and Winding Road (Lennon-McCartney) 8. Lucy In The Sky With Diamonds (Lennon-McCartney) 9. Everybody’s Got Something To Hide Except For Me and My Monkey (Lennon-McCartney) 10. Hello Goodbye (Lennon-McCartney) On Parrlophone 33 1/3 RPM Info 2/18 Side One | Track 1 I Me Mine Consider what you have to offer (and what you don’t). “We are CEOs of our own companies: Me Inc. To be in business today, our most important job is to be head marketer for the brand called You.” Tom Peters succinctly labeled and called attention to the concept of a personal brand in the August 1997 issue of Fast Company Magazine. The Beatles had that figured out well before 1997 and built a reputation, musically and personally, that stretched from Liverpool to every corner of the planet. -
Punk Preludes
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work Summer 8-1996 Punk Preludes Travis Gerarde Buck University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Recommended Citation Buck, Travis Gerarde, "Punk Preludes" (1996). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/160 This is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. Punk Preludes Travis Buck Senior Honors Project University of Tennessee, Knoxville Abstract This paper is an analysis of some of the lyrics of two early punk rock bands, The Sex Pistols and The Dead Kennedys. Focus is made on the background of the lyrics and the sub-text as well as text of the lyrics. There is also some analysis of punk's impact on mondern music During the mid to late 1970's a new genre of music crept into the popular culture on both sides of the Atlantic; this genre became known as punk rock. Divorcing themselves from the mainstream of music and estranging nlany on their way, punk musicians challenged both nlusical and cultural conventions. The music, for the most part, was written by the performers and performed without worrying about what other people thought of it. -
Read Book How to Play Electric Blues Guitar
HOW TO PLAY ELECTRIC BLUES GUITAR - U.K. PDF, EPUB, EBOOK Alan Warner | 64 pages | 01 Apr 2000 | Music Sales | 9780825617935 | English | United States How to Play Electric Blues Guitar - U.K. PDF Book Add to list. Play open A the IV chord for two measures, return to then E for two measures. If you are a beginner and you want to start playing around with this easy Blues you are more than welcome! Views Read Edit View history. You will also need an instrument cable to go with your new amp. As a busy professional with a career spanning over twenty years, she specialises in building websites for small and medium-sized businesses and has also worked on projects for numerous, globally recognised "A-list" brands. To get the full bar experience, try getting a friend who's more experienced at guitar to solo over your chords — with a little practice, you should soon get the hang of this simple but important blues progression. If you want to know how to make an electric guitar you need to be prepared for a serious undertaking. There are several guitar- centered websites that can offer help. You just have to either shim or sand the bridge saddle. Aside from that, it features a double cutaway body shape, laminated body material, and gloss body finish. Komara, Encyclopedia of the blues Routledge, , p. Blues rock British blues hard rock rock and roll. The Pentatonic scale is just 5 notes. Search thousands of teachers for local and live, online lessons. Newquist and Jon F. -
The Clash and Mass Media Messages from the Only Band That Matters
THE CLASH AND MASS MEDIA MESSAGES FROM THE ONLY BAND THAT MATTERS Sean Xavier Ahern A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill © 2012 Sean Xavier Ahern All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis analyzes the music of the British punk rock band The Clash through the use of media imagery in popular music in an effort to inform listeners of contemporary news items. I propose to look at the punk rock band The Clash not solely as a first wave English punk rock band but rather as a “news-giving” group as presented during their interview on the Tom Snyder show in 1981. I argue that the band’s use of communication metaphors and imagery in their songs and album art helped to communicate with their audience in a way that their contemporaries were unable to. Broken down into four chapters, I look at each of the major releases by the band in chronological order as they progressed from a London punk band to a globally known popular rock act. Viewing The Clash as a “news giving” punk rock band that inundated their lyrics, music videos and live performances with communication images, The Clash used their position as a popular act to inform their audience, asking them to question their surroundings and “know your rights.” iv For Pat and Zach Ahern Go Easy, Step Lightly, Stay Free. v ACKNOWLEDGMENTS This thesis would not have been possible without the help of many, many people. -
The B-G News January 22, 1960
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 1-22-1960 The B-G News January 22, 1960 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The B-G News January 22, 1960" (1960). BG News (Student Newspaper). 1516. https://scholarworks.bgsu.edu/bg-news/1516 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. Education our Challemrje: /22\ BwTUnc* oar GoaL VoL44 Bowling Gram State UnW.rmity. Bowling Gram. Ohio. Fridar. Ian. 22. 1960 No. 26 Collegiate Chorale Vacation Tour Is 'On' Again Will This Be Your Chair? 185 Earn Degrees; Commencement Is Set For Jan. 29 Approximately 185 students will be graduated this month during mid-year commencement exercises to be held at 3 p.m. Friday Jan. 29, in the main auditorium. Presi- dent Ralph W. McDonald will con- fer degrees to approximately 40 graduate students and 145 under- graduates. Dr. F. Edward Lund, president of Kenyon College, Gambier, will deliver the commencement ad- dress. "The Valor of Ignorance." The processional will start on the first floor of the Administra- tion Hldg. and move into the main auditorium at 2:45 p.m Thomas Curtis, instructor in music and University organist, will play for both the processional and reces- sional. -
The Counterculture, the Straight Society, and the Beatles
Myles Libby 10/14/09 CORE 2638 The Counterculture, the Straight Society, and the Beatles The counterculture of the mid to late 1960’s had an enormous impact on the musical and artistic culture of the era. Many artists were products of the underground scene, while others were legends before the scene emerged. In such cases, due to the influence of the counterculture, the development of different sounds and new images of particular groups is easily noticeable. One such group, the Beatles, is of great importance due to their unusually extreme popularity worldwide. Analyzing their career from start to finish, it is effortless to see and hear how they altered their appearance, image, and more importantly, their musical styles over time. Looking at early albums created by the Beatles, such as With the Beatles and A Hard Days Night, we see a generally constant theme. Their music tends to be very poppy and their lyrics very straightforward, made up of mostly boy/girl love stories, such as their early single ‘Love Me Do.’ At this point in time, for the fans at least, the Beatles seemed to be an image (the ‘fab four’) rather than a strong, musically talented influence. Discussing one of the early American tours, Ringo Starr describes, “I never felt people came to hear our show, I felt they came to see us.” (Beatles Anthology Part 5) Both Paul McCartney and Starr seemed to feel that because of the immensity of the screams and the poor quality of the speakers, the result of the music must have been very poor; but that’s not what mattered for the fans. -
Für Sonntag, 21
Tägliche BeatlesInfoMail 23.02.21: I want to tell you /// BEATLES / ROLLING STONES-Single I WANNA BE YOUR MAN /// MANY YEARS AGO -------------------- Im Beatles Museum erhältlich: BEATLES / ROLLING STONES-Single I WANNA BE YOUR MAN Versenden wir gut verpackt als Brief (mit Deutscher Post). von links: Cover-Vorderseite und -Rückseite der Clear-Vinyl-Single / Vorderseite und Rückseite der Picture-Vinyl-Single Dienstag 5. Januar 2021: THE BEATLES / THE ROLLING STONES: Clear-Vinyl-Single I WANNA BE YOUR MAN. 19,95 € Reel to Reel MCPS COVER 12, Europa. / Nummeriert und auf 1.000 Exemplare limnitiert. Dienstag 5. Januar 2021: THE BEATLES / THE ROLLING STONES: Picture-Vinyl-Single I WANNA BE YOUR MAN. 19,95 € Reel to Reel MCPS COVER 13, Europa. Seite 1: THE BEATLES: So. 20. Juni 1965, nachmittags: Palais Des Sports, Paris, Frankreich: I Wanna Be Your Man (live) (2:03). Seite 2: THE ROLLING STONEY: Montag 3. Februar 1964 (Aufnahme) / Samstag 8. Februar 1964 (Sendung): Saturday Club, BBC, Großbritannien: I Wanna Be Your Man (live for radio) (1:47). Pressetext: Two beat combos - one classic song. The Beatles wrote it, the Stones smashed it. But who did it best, only time (and you) can tell! -------------------- Viele Grüße sendet Dir das Team vom Beatles Museum Stefan, Martin, Daniel und Katharina -------------------- Bestellungen auch telefonisch möglich: Di. - So. von 10.00 bis 18.00 Uhr: 0345-2903900 Innerhalb Deutschland: Bei Bestellwert unter 50 Euro: Versandanteil für Briefe; für Inland-Pakete maximal 5,00 Euro. / Ab Bestellwert 50 Euro: innerhalb Deutschland portofrei. Ins Ausland: Versandanteil für Briefe und Pakete: bitte erfragen. Alle Angebote freibleibend, so lange der Vorrat reicht. -
Drum Talk by Tony
he explained, " try them constantly on a practice pad w ith a pair of heavy sticks, -and they come out all right. "A word of warning t hough, .don't get too technical. You DRUM may find a brilliant fi ll-in but don't use it unless it will sound exactly right in the piece you're playing. Every one is guilty of t his an d it's a bad mistake because nine TALK times out of ten it doesn't swing. Save it for the practice pad." FLAT OUT BY He spoke about some of the people he has played with, and how they differ. "We were with Little Richard on his last visit here", he said , "and with him it's TONY flat out all the way. There's no let up- and he really works hard. "With Jerry Lee Lewis it's By MIKE CROFTS much the same. You're laying it out pretty hard and on the last chorus he'll give you a wicked look and you know ONY NEWMAN is 23 years old and a veter an of to someone who'll teach them you're in for it. That's when the pop scene. In less than six years he's turned a style, because that's some he really takes off. T professional and played with a whole string of thing they should develop for "It's totally d ifferent with famous artists, yet his name has never hit the headlines, themselves, but someone who Cilla. The drum phrases Kenny and it probably never will. -
The House of Early Sorrows .) My Sister’S Suicide (0* (** Breathless, Adjective V and I (,0 Adultery Stories (/* Old Flame ()+ Moving on (+1
Louise DeSalvo T!" H#$%" #& E'()* S#((#+% F#(,!'- U./0"(%/1* P("%% N"+ Y#(2 3456 Copyright © 3456 Louise DeSalvo All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means—electronic, mechani- cal, photocopy, recording, or any other—except for brief quotations in printed reviews, without the prior permission of the publisher. Fordham University Press has no responsibility for the persistence or accuracy of URLs for external or third-party Internet websites referred to in this publication and does not guarantee that any content on such websites is, or will remain, ac- curate or appropriate. Fordham University Press also publishes its books in a variety of electronic for- mats. Some content that appears in print may not be available in electronic books. Visit us online at www.fordhampress.com. Library of Congress Cataloging-in-Publication Data available online at https:// catalog.loc.gov. Printed in the United States of America 34 57 56 8 9 : 3 5 First edition For all who have encouraged me and helped me with my work and especially for my family C!"#$"#% Prologue: Ghost Writer &' Lifeboat ( Cutting the Bread () Dark White *+ Passing the Saint ,, White on Black -. Fourteenth Street // The House of Early Sorrows .) My Sister’s Suicide (0* (** breathless, adjective V and I (,0 Adultery Stories (/* Old Flame ()+ Moving On (+1 Acknowledgments *0) P!"#"$%& Ghost W riter When my father is in his nineties, he tells me the story of a di'cult day in my maternal grandfather’s life. -
45 Sales Master List
Garage 45 set sale September 12, 2021 version 1b [email protected] Artist Titles Label Condition Notes Price Audio clip 1 Audio clip 2 1. Recent additions Styrene 45 has scuffs but both sides play well. Labels Ben Benay & the Gary have date stamps, several stickers with numbers, and Paxton Orch. Outskirts / Atlanta, GA Garpax 45-44183 VG+ large "C" stamped several times. $15 Side 1 Side 2 Birdwatchers She Tears Me Up / Wake Up Little Susie Tara 1002 VG+ $35 Side 1 Side 2 White promo labels - large tears on b-side. Styrene 45 has scuffs and some spots - maybe from tape or contact with some liquid? In any case it plays better than it looks. Large tear on b-side is partly filled in with blue United Artists UA pen. Labels also have some stains from removed $21 Black and Blues Come to Me / Bye Bye Baby 50245 G+ stickers. HOLD Side 1 Side 2 Rite pressing is somewhat noisy. Slight warp does not Bobby & the Farraris In the Morning / Pretty Tuff-Nuff 20146/5 VG affect play. $30 Side 1 Side 2 Calico Wall I'm a Living Sickness / Flight Reaction Dove VJS 84-3/4 VG+ 1984 issue of unreleased 1967 songs $25 Much wear and scuffing, A-side plays very well How Is the Air up There / Young & Innocent considering. Flip plays noisier. Drill hole and ring wear Changin' Times Girl Philips 40341 VG- to labels. $22 Side 1 Glossy vinyl, "The Wedge" label has small number Dick Dale The Wedge / Night Rider Capitol 5098 VG+ sticker. -
Playlist August 16Th 2015 Special Guests John Pizzarelli
1 2 Playlist August 16th 2015 Special Guests John Pizzarelli. Vince Calandra, Dave Morrell 9am/Open The Beatles - Good Morning Good Morning - Sgt. Pepper’s Lonely Hearts Club Band (Lennon-McCartney) Lead vocal: John Based on a Kellogg’s Cornflakes television commercial John heard while sitting at the piano and feeling a bit “stuck” trying to write something for “Sgt. Pepper.” Paul plays a stinging guitar solo and flourishes with his right-handed Fender Esquire. The basic rhythm track was recorded on February 8, 1967 in eight takes, four of them complete. 3 Overdubs followed with John’s lead vocal and Paul’s bass added on February 16. A horn section consisting of members of the Brian Epstein-managed band Sounds Inc. (previously Sounds Incorporated) was brought in on March 13. Sounds Incorporated had been one of the opening acts on the Beatles’ 1964 and 1965 tours. The Beatles - I’m Only Sleeping - Revolver (Lennon-McCartney) Lead vocal: John Written by John and Paul at Kenwood, John’s estate in Weybridge, in one writing session. Recording of the backing rhythm track began at 11:30 p.m. on April 27, 1966. John recorded his lead vocal on April 29. Both the vocal and backing track were recorded at variable speed. It was during the recording of “I’m Only Sleeping” that The Beatles discovered the “backwards guitar.” On May 5, 1966, as the band continued working on the song, George painstakingly transcribed the notes in his guitar solo and flourishes and then wrote them out backwards. He then played them in that reverse order.