Field Guide to Coronado History: the Kingston Trio – 10 Reasons For

Total Page:16

File Type:pdf, Size:1020Kb

Field Guide to Coronado History: the Kingston Trio – 10 Reasons For Field Guide to Coronado History: The Kingston Trio – 10 Reasons for Their Importance in Coronado History By Pam Crooks Number 10 Two members of the Trio had links to Coronado —Nick Reynolds, grew up and lived here throughout his life, and John Stewart was born in San Diego but lived later in Coronado. Number 9 The Kingston Trio influenced musicians like Bob Dylan, Peter, Paul & Mary, the Beach Boys, Joni Mitchell, the Eagles, Fleetwood Mac, paving the way for the popular music of the 60s. Number 8 Legend has it that when Nick Reynolds’ grandfather (a naval officer) first came to Coronado he won his home on Alameda Blvd. in a poker game. Nick’s grandmother helped open the Hotel del Coronado by leading the “Grand March.” Number 7 The Kingston Trio sold more albums nationally than any other San Diego band in history. Number 6 Nick Reynolds’ father was a Navy pilot who gave Nick and his sister guitars, first taught Nick his cords and who frequently led the family in singing around the dining room table. Number 5 Nick Reynolds helped hone his musical skills during parties on Coronado beaches and across the border in Tijuana. Number 4 The Kingston Trio was the only San Diego-area band to receive a Lifetime Achievement Grammy Award. Number 3 Nick Reynolds graduated from Coronado High School in 1951 and retired in Coronado. He liked to body surf and worked for a time in Coronado’s Drive-Thru, Oscar’s. His widow and two sisters still live here. Number 2 The Kingston Trio had more albums on the Billboard Top Ten chart at one time than any other band before or since (including the Beatles) Number 1 Nick Reynolds returned several times in the 1990s for “secret” appearances at Coronado’s legendary Sunday Concerts-in-the-Park, packing the grounds. www.coronadohistory.org @ CHA .
Recommended publications
  • Capitol EAP-1-1101 Stan Freberg Released August, 1958. in Spring, Freberg Recorded a 6:38 Commercial for Butter-Nut Coffee, Which Was Based in Omaha
    Capitol Albums, 1101 to 1200 and Full Dimensional Stereo Omaha! Capitol EAP-1-1101 Stan Freberg Released August, 1958. In spring, Freberg recorded a 6:38 commercial for Butter-Nut Coffee, which was based in Omaha. The successful commercial came out as Capitol Custom KB-2236/7. He decided to expand the concept into an EP soundtrack that served basically as a parody of Oklahoma while promoting Omaha. The city loved him, asking that he conduct the Omaha Symphony Orchestra in July – in a performance of his musical. The Most Mishige Capitol T-1102 Mickey Katz Released January, 1959. Freshmen Favorites Vol. 2 Capitol T-1103 The Four Freshmen Released January, 1959. Polka Night Capitol T-1104 Ray Budzilek Released January, 1959. Andy Griffith Shouts the Blues and Old Timey Songs Capitol T-1105 Andy Griffith Released January, 1959. Country Love Ballads Capitol T-1106 The Louvin Brothers Released January, 1959. From The Hungry i Capitol T-1107 The Kingston Trio Released January, 1959. 18th Century Jazz Capitol T-1108 The Jack Marshall Sextette Released January, 1959. Some Came Running Capitol (S)W-1109 Soundtrack Released March, 1959. Meredith Willson’s Marching Band Capitol T-1110 Meredith Willson Released January, 1959. Favorite Waltzes Capitol T-1111 Hank Thompson Released January, 1959. Unreleased/unknown 1112 Church in the Wildwood Capitol T-1113 Various Artists Released January, 1959. The Song Is June! Capitol (S)T-1114 June Christy Released January, 1959. Jonah Jumps Again Capitol (S)T-1115 Jonah Jones Quartet Released February, 1959. Salute to the Smooth Bands Capitol T-1116 Freddy Martin Released February, 1959.
    [Show full text]
  • FOR IMMEDIATE RELEASE Contact: Media – Leading Edges, 601.483.9810, [email protected] Performance – MSU Riley Center
    FOR IMMEDIATE RELEASE Contact: Media – Leading Edges, 601.483.9810, [email protected] Performance – MSU Riley Center Box Office, 601.696.2200, [email protected] ‘Lonesome Traveler: The Concert’ Celebrates Folk Music Roots at MSU Riley Center MERIDIAN, MS –“Lonesome Traveler: The Concert,” with featured guest star Peter Yarrow of Peter, Paul and Mary, will take an MSU Riley Center audience on a musical journey down the many streams of American folk music on Saturday, October 13, at 7:30 p.m. The multimedia concert, based on an acclaimed off-Broadway musical, is the second show in the Riley Center’s 2018-2019 Fall/Winter Performing Arts Series. “Lonesome Traveler” celebrates the music of such great folk and folk-rock artists as Woody Guthrie, Lead Belly, Pete Seeger and The Weavers, The Limeliters, Bob Dylan, The Byrds, Crosby, Stills & Nash, Joan Baez, Joni Mitchell and Simon & Garfunkel. It also includes a special tribute to Leonard Cohen. Charismatic young singers and multi-instrumentalists re-create the sounds and rekindle the idealistic spirit of the 1950s and ’60s folk revival. “Paul, Mary and I owed a great debt to the pioneers of folk who came before us,” Yarrow said. “It’s a joy for me to see a new generation carrying forward the traditions of folk music.” Members of every generation can sing along together on such warmly remembered hits as “If I Had a Hammer,” “Puff, the Magic Dragon,” “This Land Is Your Land,” “Blowin’ in the Wind,” “Turn! Turn! Turn!” “The Times They Are a-Changin’” and “Hallelujah.” It’s all folk music – music of the people, ever evolving, connecting us to our past and shaping our future.
    [Show full text]
  • Retrospective Analysis of Plagiaristic Practices Within a Cinematic Industry in India – a Tip in the Ocean of Icebergs
    Retrospective analysis of plagiaristic practices within a cinematic industry in india – a tip in the ocean of icebergs Item Type Article Authors Sivasubramaniam, Shiva D; Paneerselvam, Umamaheswaran; Ramachandran, Sharavan Citation Umamaheswaran, P., Ramachandran, S. and Sivasubramaniam, S.D., (2020). 'Retrospective Analysis of Plagiaristic Practices within a Cinematic Industry in India–a Tip in the Ocean of Icebergs'. Journal of Academic Ethics, pp.1-11. DOI: 10.1007/ s10805-020-09360-7 DOI 10.1007/s10805-020-09360-7 Publisher Springer Journal Journal of Academic Ethics Download date 27/09/2021 02:43:07 Link to Item http://hdl.handle.net/10545/624527 Journal of Academic Ethics https://doi.org/10.1007/s10805-020-09360-7 Retrospective Analysis of Plagiaristic Practices within a Cinematic Industry in India – aTip in the Ocean of Icebergs Paneerselvam Umamaheswaran1 & Sharavan Ramachandran2 & Shivadas D. Sivasubramaniam3 # The Author(s) 2020 Abstract Music plagiarism is defined as using tune, or melody that would closely imitate with another author’s music without proper attributions. It may occur either by stealing a musical idea (a melody or motif) or sampling (a portion of one sound, or tune is copied into a different song). Unlike the traditional music, the Indian cinematic music is extremely popular amongst the public. Since the expectations of the public for songs that are enjoyable are high, many music directors are seeking elsewhere to “borrow” tunes. Whilst a vast majority of Indian cinemagoers may not have noticed these plagiarised tunes, some journalists and vigilant music lovers have noticed these activities. This study has taken the initiative to investigate the extent of plagiaristic activities within one Indian cinematic music industry.
    [Show full text]
  • Our Best to You Capitol Star Line (S)T-1801 Various Artists Released November, 1962
    Capitol Albums, 1801 to 1900 Our Best to You Capitol Star Line (S)T-1801 Various Artists Released November, 1962. Gold label Hits of Ella Mae Morse & Freddie Slack Capitol Star Line T-1802 Ella Mae Morse and Freddie Slack Released November, 1962. Gold label The All-Time Hits of Red Nichols Capitol Star Line (S)T-1803 Red Nichols and the Five Pennies Released November, 1962. Gold label An Evening with Romberg Capitol (S)W-1804 Carmen Dragon (Hollywood Bowl Pops Orchestra) Released November, 1962. An Evening with Cole Porter Capitol (S)W-1805 Carmen Dragon (Hollywood Bowl Pops Orchestra) Released November, 1962. The Soul of Country and Western Strings Capitol (S)T-1806 Billy Liebert Released November, 1962. Clair de Lune Capitol (S)W-1807 Stokowski, Pennario, Leinsdorf, Almeida, Dragon Released November, 1962. Capitol released this album in conjunction with a hardback book from Random House. Surfin’ Safari Capitol (D)T-1808 The Beach Boys Released October, 1962. Some early and later copies of this LP have a stereo front slick, although the LP is in Duophonic and the back slicks clearly state so. The New Frontier Capitol (S)T-1809 The Kingston Trio Released November, 1962. Big Bluegrass Special Capitol (S)T-1810 The Green River Boys & Glen Campbell Released November, 1962. My Baby Loves to Swing Capitol (S)T-1811 Vic Damone Released December, 1962. Themes of the Great Bands Capitol (S)T-1812 Glen Gray and the Casa Loma Orchestra Released January, 1963. Sounds of the Great Bands, Vol. 6 Memories Are Made of These Capitol (S)T-1813 George Chakiris Released December, 1962.
    [Show full text]
  • The California Special"
    To: WATERMARK PROGRAM SUBSCRIBERS From: Tom Rounds Re: "THE CALIFORNIA SPECIAL" Saturday, May 31, 1975 Our producer, Ron Jacobs, calls it "better than the History of Rock and Roll or the Elvis Presley Story". He, along with just about everybody else in the Southern California music community has been swept up in the tremendous enthusiasm building for Watermark's latest radio program production: "The California Special". Our 4 color brochure, which I promised a few weeks ago, won't be ready for this week's mailing, so we've re-printed the ad that will break next week. I've also enclosed a postcard, which you should fill out and return, even if you are just remotely interested. If you send in the postcard, we'll send you the demo tape just as soon as it's produced•.. about June 15. The complete 6 hour special will be ready shortly thereafter. "The California Special" will be a new kind of rockumentary, It' 11 be based on all the Southern California hits from 1960 through 1975, but the emphasis will be on the "summer fun and sun'' hits and artists .•. Beachboys, Jan & Dean, etc. The license will allow unlimited use through March of 1977, and we think you' 11 be able to get at least two runs out of the six hours this summer if you move fast. Because the content and the music is so comprehensive, it's probably an easy sell, if you decide to go that way. The ideal scheduling, if your advance programming commitments permit, would call for Sunday afternoon 12Noon-6PM.
    [Show full text]
  • NEW RELEASE GUIDE May 1 May 8 ORDERS DUE MARCH 27 ORDERS DUE APRIL 3
    ada–music.com @ada_music NEW RELEASE GUIDE May 1 May 8 ORDERS DUE MARCH 27 ORDERS DUE APRIL 3 2020 ISSUE 10 May 1 ORDERS DUE MARCH 27 MAN MAN DREAM HUNTING IN THE VALLEY OF THE IN-BETWEEN NON-EXPORTABLE CD / 2XLP / CS / DIGITAL SP 1350 RELEASE DATE: MAY IST, 2020 OUTSIDE OF THE US. TRACKLISTING: 1. Dreamers 2. Cloud Nein 3. On the Mend 4. Lonely Beuys 5. Future Peg 6. Goat 7. Inner Iggy 8. Hunters 9. Oyster Point 10. The Prettiest Song in the World 11. Animal Attraction 12. Sheela 13. Unsweet Meat 14. Swan 15. Powder My Wig 16. If Only 17. In the Valley of the In-Between GENRE: Alternative Rock Honus Honus (aka Ryan Kattner) has devoted his career to exploring the uncertainty between life’s extremes, beauty, and ugliness, order and chaos. The songs on Dream Hunting in the Valley of the In-Between, Man Man’s first album in over six years and their Sub Pop debut, are as intimate, soulful, and timeless as they are audaciously inventive and daring, resulting in his best Man Man album to date. 0 9 8 7 8 7 1 3 5 0 2 2 0 9 8 7 8 7 1 3 5 0 1 5 CD List Price: $9.98 2xLP List Price: $25.98 The 17-track effort, featuring “Cloud Nein,” “Future Peg,” “On the CD Packaging: Digipack 2xLP Packaging: Gatefold jacket w/ custom Mend” “Sheela,” and “Animal Attraction,” was produced by Cyrus with poster insert dust sleeves and etching on side D 5% discount on the CD Includes mp3 coupon Ghahremani, mixed by S.
    [Show full text]
  • John Stewart Song Database
    This is the version from the "Teresa"-cd Page 1 of 2 Across The Milky Way Written by John Stewart. This is the version from the "Teresa and the Lost Songs" CD, Homecoming Records, 1998. John Stewart plays it in the key of D (first chord G). (C) (G) (D) (G) 5x If you are (D)lost as (G)in a (D)dream And you(C) cannot (D)find your (G)way,(D) (G)All the (D)reasons (G)you are (D)lost Will (C)guide you (G)on your (D)way. If you (C)turn them all to (D)stars (C)Across the (D)milky (G)way,(D) (G)Truly (D)they would (G)make All the (C)night as (D)bright as (C)day.(G) (D) (G) (C) (G) (D) (G) (C) (G) (D) (G) Children (D)come and (G)children (D)go, They´re not(C) children (D)any(G)more.(D) (G)And all I (D)have are (G)photo(D)graphs, I have(C) hundreds (G)on my (D)door. And if I (C)turned them all to (D)stars (C)Across the (D)milky (G)way,(D) (G)Truly (D)they would (G)make All the (C)night as (D)bright as (G)day,(D) (G)Truly (D)they would (G)make All the (C)night as (D)bright as (C)day.(G) (D) (G) (C) (G) (D) (G) (C) (G) (D) (G) (C) (G) (D) (G) If all the (D)hearts that the (G)spirit (D)loves were(C) standing (D)side by (G)side,(D) (G)They would (D)be for(G)ever (D)long And(C) ten thousand (G)miles (D)wide.
    [Show full text]
  • 4. Folk, Folk Rock, Singer-Songwriters
    4. Folk, Folk Rock, Singer-Songwriters Lecture Outline • Traditional folk definition and folk song features • Three different ideas of “folk” • Professionalization of folk in the 1950s and 1960s • Singer-songwriters • Some newer folk artists and sounds Traditional Folk • Oral/Aural transmission • Anonymous composition (and communal composition) • Heavy ideological side to the term – Authenticity claims, ideas that change with time • Some Folk Song Types: – Ballads • Narratives (love, war, heroes, disasters, etc.) – Work Songs • Sailors, fishing, mining, lumber, sewing, etc. – Other • Lullabies, children’s songs, drinking songs etc. Traditional Folk Song Features • Often unaccompanied (a cappella) • Simple melodies (and harmonies, if present) • Usually solo singer or solo instrument – Simple accompaniment – Fiddle, guitar, accordion, whistle, spoons, etc. • Strophic form (AAAAA, etc.) or verse/chorus • Modal (not major or minor, but Dorian, Lydian modes, etc.) • Dancing often accompanies folk music Three different ideas of “folk” music 1. 19th Century – Romantic nationalism – European classical composers use folk melodies for new compositions – Start of song collecting • Turns it into a pop music • Shapes folk culture in terms of what is and isn’t collected • Turns it into a written music (as opposed to purely oral/aural) 2. 1930s and 1940s 3. Folk Revival Period (1958-1965) Folk in the 1930 and 1940s: Three Trends • Folk music starts to be used as a political tool – Beginning of connections with folk and protest music – Folk singers often advocated for social change – Usually left wing positions, socialism, helping the poor or marginalized • Creation of new “folk” songs – These were often written to sound old-timey, but were also often about current events • Some of these new songwriters became celebrities – One of the best examples of these three trends (left wing politics, new songs, and celebrity), was Woody Guthrie… Woodie Guthrie Ex: Woody Guthrie “Do Re Mi” (1940) • Similar to 19th C.
    [Show full text]
  • Chilly Winds Don’T Blow
    ChillyLyrics and music by John Winds Stewart and John Phillips © 1962 all rights reserved G C D G I’m goin’ where them chilly winds don’t blow. C D C G C Gonna find my true love; That’s where I want to go; Am D D7 G Out where them chilly winds don’t blow. C D G Sing your song, sing it soft and low, C D C G C Sing it for your baby; And then I’ll have to go; Am D D7 G Out where them chilly winds don’t blow. C D G Wish I was a headlight on a west bound train. C D C G C I’d shine my light on; That cool Colorado range; Am D D7 G Out where them chilly winds don’t blow. C D G If you’re feelin’ lonely, if you’re feelin’ low. C D C G C Remember that I loved you more than you will ever know; Am D D7 G Out where them chilly winds don’t blow. C D G Leavin’ in the spring time; won’t be back ‘til fall. C D C G C If I can forget you, I might not come back at all; Am D D7 G Out where them chilly winds don’t blow. C D7 G Em Out where them chilly winds don’t blow; C D D7 G Em C D D7 G Out where them chilly winds don’t blow. Goin’ where them chilly winds don’t blow. !1 History John Stewart (Sept.
    [Show full text]
  • Folk Music 1 Folk Music
    Folk music 1 Folk music Folk music Béla Bartók recording Slovak peasant singers in 1908 Traditions List of folk music traditions Musicians List of folk musicians Instruments Folk instruments Folk music is an English term encompassing both traditional folk music and contemporary folk music. The term originated in the 19th century. Traditional folk music has been defined in several ways: as music transmitted by mouth, as music of the lower classes, and as music with unknown composers. It has been contrasted with commercial and classical styles. This music is also referred to as traditional music and, in US, as "roots music". Starting in the mid-20th century a new form of popular folk music evolved from traditional folk music. This process and period is called the (second) folk revival and reached a zenith in the 1960s. The most common name for this new form of music is also "folk music", but is often called "contemporary folk music" or "folk revival music" to make the distinction.[1] This type of folk music also includes fusion genres such as folk rock, electric folk, and others. While contemporary folk music is a genre generally distinct from traditional folk music, it often shares the same English name, performers and venues as traditional folk music; even individual songs may be a blend of the two. Traditional folk music Definitions A consistent definition of traditional folk music is elusive. The terms folk music, folk song, and folk dance are comparatively recent expressions. They are extensions of the term folk lore, which was coined
    [Show full text]
  • FROM “WE SHALL OVERCOME” to “FORTUNATE SON”: the EVOLVING SOUND of PROTEST an Analysis on the Changing Nature of American Protest Music During the Sixties
    FROM “WE SHALL OVERCOME” TO “FORTUNATE SON”: THE EVOLVING SOUND OF PROTEST An analysis on the changing nature of American protest music during the Sixties FLORIS VAN DER LAAN S1029781 MA North American Studies Supervisor: Frank Mehring 20 Augustus 2020 Thesis k Floris van der Laan - 2 Abstract Drawing on Denisoff’s theoretical framework - based on his analysis of the magnetic and rhetorical songs of persuasion - this thesis will examine how American protest music evolved during the Sixties (1960-1969). Songs of protest in relation to the Civil Rights Movement and the Vietnam War gave a sound to the sociopolitical zeitgeist, critically addressing matters that were present throughout this decade. From the gentle sounds of folk to the dazzling melodies of rock, protest music became an essential cultural medium that inspired forms of collective thought. Ideas of critique and feelings of dissent were uniquely captured in protest songs, creating this intrinsic correlation between politics, music, and protest. Still, a clear changing nature can be identified whilst scrutinizing the musical phases and genres – specifically folk and rock - the Sixties went through. By taking a closer look on the cultural artifacts of protest songs, this work will try to demonstrate how American songs of protest developed during this decade, often affected by sociopolitical factors. From Bob Dylan’s “Blowin’ in the Wind” to The Doors’ “The Unknown Soldier”, and from “Eve of Destruction” by Barry McGuire to “Superbird” by Country Joe and The Fish, a thorough analysis of protest music will be provided. On the basis of lyrics, melodies, and live performances, this thesis will discuss how protest songs reflected the mood of the times, and provided an ever-evolving destabilizing force that continuously adjusted to its social and political surroundings.
    [Show full text]
  • Album Reviews
    ALBUM REVIEWS PEARL - London PS 692 - Producers: John Lombardo & EDDIE MONEY - Columbia PC 34909 - Producer: Bruce Leslie Pearl - List: 6.98 Botnick - List: 6.98 Siblings Leslie and Debbie Pearl, who write and sing, respec- Eddie Money never quite fit into that New York City tively, have teamed up here for a delightful and bouncy pop en- policeman's uniform even though two generations had try. If Carole King had a dual personality it might look and cer- preceded him in that role. But, as he so vividly tells us in "Wanna tainly would sound like the Pearl Sisters. Leslie has written the Be A Rock 'n' Roll Star" his aspirations have always leaned highly accessible material here, but also doubles as keyboard more to the concert stage than to the neighborhood beat. On his player, musical arranger, co -producer and singer on two debut album he does indeed show that he's got the stuff, tracks. Debbie, however, as the singing lead brings her knowl- primarily as a singer but also as an instrumentalist and a writer. edge of the theatre to her dramatic vocal renderings. Look for live performances especially to turn the trick for Money. CRAC KIN' - Crackin' - Warner Bros. BS 3123 - Producer: Michael Omartian - List: 6.98 PORTFOLIO - Grace Jones - Island ILPS-9470 - Producer: With this, the group's second Warner Bros. album, Crackin' Tom Moulton - List: 7.98 has further refined its own interesting blend of rock and R&B Very few people could get away with a disco cover of "Send In styles. The lyrics are unpretentious and optimistic and serve as The Clowns," but Ms.
    [Show full text]