AVAILABLE from DESCRIPTORS Fifty-One Percent Minority. Connecticut Conference on the Articles Presented in This Document Stem Fr
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Het Verhaal Van De 340 Songs Inhoud
Philippe Margotin en Jean-Michel Guesdon Rollingthe Stones compleet HET VERHAAL VAN DE 340 SONGS INHOUD 6 _ Voorwoord 8 _ De geboorte van een band 13 _ Ian Stewart, de zesde Stone 14 _ Come On / I Want To Be Loved 18 _ Andrew Loog Oldham, uitvinder van The Rolling Stones 20 _ I Wanna Be Your Man / Stoned EP DATUM UITGEBRACHT ALBUM Verenigd Koninkrijk : Down The Road Apiece ALBUM DATUM UITGEBRACHT 10 januari 1964 EP Everybody Needs Somebody To Love Under The Boardwalk DATUM UITGEBRACHT Verenigd Koninkrijk : (er zijn ook andere data, zoals DATUM UITGEBRACHT Verenigd Koninkrijk : 17 april 1964 16, 17 of 18 januari genoemd Verenigd Koninkrijk : Down Home Girl I Can’t Be Satisfi ed 15 januari 1965 Label Decca als datum van uitbrengen) 14 augustus 1964 You Can’t Catch Me Pain In My Heart Label Decca REF : LK 4605 Label Decca Label Decca Time Is On My Side Off The Hook REF : LK 4661 12 weken op nummer 1 REF : DFE 8560 REF : DFE 8590 10 weken op nummer 1 What A Shame Susie Q Grown Up Wrong TH TH TH ROING (Get Your Kicks On) Route 66 FIVE I Just Want To Make Love To You Honest I Do ROING ROING I Need You Baby (Mona) Now I’ve Got A Witness (Like Uncle Phil And Uncle Gene) Little By Little H ROLLIN TONS NOW VRNIGD TATEN EBRUARI 965) I’m A King Bee Everybody Needs Somebody To Love / Down Home Girl / You Can’t Catch Me / Heart Of Stone / What A Shame / I Need You Baby (Mona) / Down The Road Carol Apiece / Off The Hook / Pain In My Heart / Oh Baby (We Got A Good Thing SONS Tell Me (You’re Coming Back) If You Need Me Goin’) / Little Red Rooster / Surprise, Surprise. -
Vintage Uke Music Revised 2020.Xlsx
9/20/2020 Title Folder 12 street rag !no covers a fool such as i (now and then there's) A A Lady Loves ‐ 1952 L A Man Never Marries A Wife ‐ 1951 M A Nickel Ain't Worth A Cent Today ‐ 1951 N A Picnic In The Park ‐ 1951 P A Sleepin' Bee ‐ 1954 S a very precious love !no covers a woman in love !no covers A Woman In Love ‐ 1955 W a you're adorable A abdul the bulbul ameer A Abie's Irish Nose ‐ 1925 A About A Quarter To Nine A absence makes heart grow fonder A accent on youth A ac‐cent‐tchu‐ate the positive A Across The Breakfast Table ‐ 1929 A Adam's Apple A Adelaide ‐ 1955 A Adios A Adorable ‐ 1933 A After a million dreams A after all it's you A After All You're All I'm After ‐ 1930 A After All You're All I'm After ‐ 1933 A After Business Hours ‐ 1929 A after i say i'm sorry A after i've called you sweetheart A After My Laughter Came Tears A After Tea ‐ 1925 A after you A After You Get What You Want A After You Get What You Want You Don't Want It ‐ 1920A After You've Gone A after_my_laughter_came_tears A ah but is it love A Ah But It Is Love ‐1933 A ah sweet mystery of life A Ah Wants To Die From Eatin' Possum Pie ‐ 1925 A Ah! The Moon Is Here ‐ 1933 A ah‐ha A ain't gonna rain new verses A Ain't Got A Dime To My Name ‐ 1942 A ain't it cold !no covers ain't misbehavin' A aint misbehavin vintage !no covers aint no flies on auntie A Ain't No Flies On Aunty A ain't no land like dixie A aint she sweet A Ain't That a Grand and Glorious Feeling ‐ 1927 A Ain't we carryin' on A Ain't We Got Fun A Ain't You Baby A ain't_misbehavin' A Ain't‐cha A alabama -
Name Artist Album Track Number Track Count Year Wasted Words
Name Artist Album Track Number Track Count Year Wasted Words Allman Brothers Band Brothers and Sisters 1 7 1973 Ramblin' Man Allman Brothers Band Brothers and Sisters 2 7 1973 Come and Go Blues Allman Brothers Band Brothers and Sisters 3 7 1973 Jelly Jelly Allman Brothers Band Brothers and Sisters 4 7 1973 Southbound Allman Brothers Band Brothers and Sisters 5 7 1973 Jessica Allman Brothers Band Brothers and Sisters 6 7 1973 Pony Boy Allman Brothers Band Brothers and Sisters 7 7 1973 Trouble No More Allman Brothers Band Eat A Peach 1 6 1972 Stand Back Allman Brothers Band Eat A Peach 2 6 1972 One Way Out Allman Brothers Band Eat A Peach 3 6 1972 Melissa Allman Brothers Band Eat A Peach 4 6 1972 Blue Sky Allman Brothers Band Eat A Peach 5 6 1972 Blue Sky Allman Brothers Band Eat A Peach 5 6 1972 Ain't Wastin' Time No More Allman Brothers Band Eat A Peach 6 6 1972 Oklahoma Hills Arlo Guthrie Running Down the Road 1 6 1969 Every Hand in the Land Arlo Guthrie Running Down the Road 2 6 1969 Coming in to Los Angeles Arlo Guthrie Running Down the Road 3 6 1969 Stealin' Arlo Guthrie Running Down the Road 4 6 1969 My Front Pages Arlo Guthrie Running Down the Road 5 6 1969 Running Down the Road Arlo Guthrie Running Down the Road 6 6 1969 I Believe When I Fall in Love Art Garfunkel Breakaway 1 8 1975 My Little Town Art Garfunkel Breakaway 1 8 1975 Ragdoll Art Garfunkel Breakaway 2 8 1975 Breakaway Art Garfunkel Breakaway 3 8 1975 Disney Girls Art Garfunkel Breakaway 4 8 1975 Waters of March Art Garfunkel Breakaway 5 8 1975 I Only Have Eyes for You Art Garfunkel Breakaway 7 8 1975 Lookin' for the Right One Art Garfunkel Breakaway 8 8 1975 My Maria B. -
Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources
Discography Of The Vanguard Label Vanguard Records was established in New York City in 1947. It was owned by Maynard and Seymour Solomon. The label released classical, folk, international, jazz, pop, spoken word, rhythm and blues and blues. Vanguard had a subsidiary called Bach Guild that released classical music. The Solomon brothers started the company with a loan of $10,000 from their family and rented a small office on 80 East 11th Street. The label was started just as the 33 1/3 RPM LP was just gaining popularity and Vanguard concentrated on LP’s. Vanguard commissioned recordings of five Bach Cantatas and those were the first releases on the label. As the long play market expanded Vanguard moved into other fields of music besides classical. The famed producer John Hammond (Discoverer of Robert Johnson, Bruce Springsteen Billie Holiday, Bob Dylan and Aretha Franklin) came in to supervise a jazz series called Jazz Showcase. The Solomon brothers’ politics was left leaning and many of the artists on Vanguard were black-listed by the House Un-American Activities Committive. Vanguard ignored the black-list of performers and had success with Cisco Houston, Paul Robeson and the Weavers. The Weavers were so successful that Vanguard moved more and more into the popular field. Folk music became the main focus of the label and the home of Joan Baez, Ian and Sylvia, Rooftop Singers, Ramblin’ Jack Elliott, Doc Watson, Country Joe and the Fish and many others. During the 1950’s and early 1960’s, a folk festival was held each year in Newport Rhode Island and Vanguard recorded and issued albums from the those events. -
John Lennon, “Revolution,” and the Politics of Musical Reception John Platoff Trinity College, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Trinity College Trinity College Trinity College Digital Repository Faculty Scholarship Spring 2005 John Lennon, “Revolution,” and the Politics of Musical Reception John Platoff Trinity College, [email protected] Follow this and additional works at: http://digitalrepository.trincoll.edu/facpub Part of the Music Commons JOM.Platoff_pp241-267 6/2/05 9:20 AM Page 241 John Lennon, “Revolution,” and the Politics of Musical Reception JOHN PLATOFF A lmost everything about the 1968 Beatles song “Revolution” is complicated. The most controversial and overtly political song the Beatles had produced so far, it was created by John Lennon at a time of profound turmoil in his personal life, and in a year that was the turning point in the social and political upheavals of the 1960s. Lennon’s own ambivalence about his message, and conflicts about the song within the group, resulted in the release of two quite 241 different versions of the song. And public response to “Revolution” was highly politicized, which is not surprising considering its message and the timing of its release. In fact, an argument can be made that the re- ception of this song permanently changed the relationship between the band and much of its public. As we will see, the reception of “Revolution” reflected a tendency to focus on the words alone, without sufficient attention to their musical setting. Moreover, response to “Revolution” had much to do not just with the song itself but with public perceptions of the Beatles. -
Mick Jagger © Felix Aeppli 04-2020 / 09-2021
Memo From Turner Mick Jagger © Felix Aeppli 04-2020 / 09-2021 1001 July 26, 1943 Born in Dartford, Kent: Michael Philip Jagger. 1001A Late 1961 Bob Beckwith’s home, Bexleyheath, near Dartford, and/or Dick Taylor’s home, Dartford, Kent: LITTLE BOY BLUE AND THE BLUE BOYS, SOME OLD SONGS (Download EP, Promotone / iTunes, May 27, 2013: cuts 1-6, 8 [1, 4, 5 plus repeats of 2, 3 all incomplete]); THE ROLLING STONES FILES 1961-1964 (BT CD: cuts 1-6, 8 [1, 4, 5 plus repeats of 2, 3 all incomplete]); THE ROLLING STONES, REELIN’ & ROCKIN’ (BT CD: cuts 1-5 [all incomplete]); DOWN THE ROAD APIECE (STONES TOURING HISTORY VOL. 1) (BT CD: cuts 1, 9 [1 longer, but still incomplete]); HOW BRITAIN GOT THE BLUES (BT CD: cuts 2, 3, 6, 8), BILL WYMAN’S BLACK BOX (BT CD [VGP]: cuts 2, 3, 6, 8); GENUINE BLACK BOX (BT CD box set [Disc 1]: cuts 5, 11-13); REEL TIME TRIP (BT CD: cut 7): 1. Around And Around, 2. Little Queenie, 3. Beautiful Delilah (all Berry), 4. La Bamba (Trad. arr. Valens), 5. Go On To School (Reed) [not Wee Baby Blues (Turner, John- son)], 6. I Ain’t Got You (Carter), 7. I’m Left, You’re Right, She’s Gone (Kesler, Taylor), 8. Down The Road Apiece (Raye), 9. Don’t Stay Out All Night (Arnold), 10. I Ain’t Got You (Carter), 11. Johnny B. Goode, 12. Little Queenie, 13. Beautiful Delilah (all Berry) MJ: vocals; Keith Richards: guitar, Bob Beckwith: guitar, and maybe harmonica (13); Dick Taylor: bass, guitar, drums (probably 13); Alan Etherington: maracas, drums, back-up vocals; – NOTES: Cuts 1-13: 30 minutes reel-to-reel tape of which the original was bought by Mick Jagger at Christie’s auction house, London, May 25, 1995, for £ 50,250; Cut 10: Existence unconfirmed; Cuts 11-13: Might come from a January, 1962, session at Dick Taylor’s home; – In spite of respective rumours, LITTLE BOY BLUE AND THE BLUE BOYS just rehearsed in their parents homes and never had a public appearance. -
The Rolling Stones Complete Recording Sessions 1962 - 2020 Martin Elliott Session Tracks Appendix
THE ROLLING STONES COMPLETE RECORDING SESSIONS 1962 - 2020 MARTIN ELLIOTT SESSION TRACKS APPENDIX * Not Officially Released Tracks Tracks in brackets are rumoured track names. The end number in brackets is where to find the entry in the 2012 book where it has changed. 1962 January - March 1962 Bexleyheath, Kent, England. S0001. Around And Around (Little Boy Blue & The Blue Boys) (1.21) * S0002. Little Queenie (Little Boy Blue & The Blue Boys) (4.32) * (a) Alternative Take (4.11) S0003. Beautiful Delilah (Little Boy Blue & The Blue Boys) (2.58) * (a) Alternative Take (2.18) S0004. La Bamba (Little Boy Blue & The Blue Boys) (0.18) * S0005. Go On To School (Little Boy Blue & The Blue Boys) (2.02) * S0006. I'm Left, You're Right, She's Gone (Little Boy Blue & The Blue Boys) (2.31) * S0007. Down The Road Apiece (Little Boy Blue & The Blue Boys) (2.12) * S0008. Don't Stay Out All Night (Little Boy Blue & The Blue Boys) (2.30) * S0009. I Ain't Got You (Little Boy Blue & The Blue Boys) (2.00) * S0010. Johnny B. Goode (Little Boy Blue & The Blue Boys) (2.24) * S0011. Reelin' And A Rockin' (Little Boy Blue & The Blue Boys) * S0012. Bright Lights, Big City (Little Boy Blue & The Blue Boys) * 27 October 1962 Curly Clayton Sound Studios, Highbury, London, England. S0013. You Can't Judge A Book By The Cover (0.36) * S0014. Soon Forgotten * S0015. Close Together * 1963 11 March 1963 IBC Studios, London, England. S0016. Diddley Daddy (2.38) S0017. Road Runner (3.04) S0018. I Want To Be Loved I (2.02) S0019. -
Music Teature with The
Registered in Australia Tor Transmisiion by post «s a Newspaper Edited by David Ferguson Printed by John Nugent & Co, Typesetting by Queensland Type Service Pty. Ltd. The views expresseiJ In this newspaper are not necessarily those of the University of Queensland SENPER Union Council. Volume 37 Numbers FLOREAT June 2nd. 1967 A personal glimpse of BRIAN LAVER Interview page 11 Special 3 Page music teature With the * STONES * BLUES PROJECT ^ ANIMALS And ij: LOU RAWLS ^ P. R & M. ^ GARYSHEARSTON PLUS: Nick Booth Gasser Michele Jordana King Ron Marshall "This Page" Semper Floreat Friday June 2 Page 2 the open forum with the Union's prime effort on the part ofall con made to Engineering JI Commem proce.s.s(on par o'clock at night and all UNION'S ROLE objecl, which is to cater cerned. In addition lo students with regard to ticipants, and it should be through the weekend. Mere IN RECREATION realistically for the require meeting all normal re methods used to capture empowered (o require that publication of Whacko fair (?) maidens. On two or only those Faculties and destroys this shining public Sir. ments of each of its mem quirements for blood and bers. It is not the intention blood fractions, three three occasions, police Clubs which present to it image at one blow. Regarding a letter en raced to the rescue of girls specific and detailed themes But then, so long as the titled "The Sports Union— (as should be obvious from patients in Brisbane Hos the facilities planned) to pitals alone have recently who were being brutally and float designs a couple money rolls in, who cares A White Elephant", which attacked (after extending of weeks before Commem about public images or the appeared in your last edi usurp the field that is required blood from 238, rightly that of Sports 313 and 491 donations their hands they were day be allowed to partici propagation of culture? tion of Semper Floreat. -
Music Collection
collection! 2001 Demos 1 The Arcade Fire 1.Winter For A Year(4:51) 8.You Tried To Turn Away My Fears (4:29) 2.My Mind Is A Freeway(3:57) 9.Instrumental (4:11) 3.Accidents (4:20) 10.The Great Arcade Fire(12:27) 4.Goodnight Boy(2:39) 5.Asleep At The Wheel(3:49) 6.In The Attic(6:13) 7.Can't Let Go Of You(4:05) Arcade Fire EP 2 The Arcade Fire 1.Old Flame(3:53) 2.I'm Sleeping in a Submarine(2:48) 3.No Cars Go (6:02) 4.The Woodland National Anthem(3:56) 5.My Heart is an Apple(4:29) 6.Headlights Look Like Diamonds (4:25) 7.Vampire/Forest Fire(7:16) Funeral 3 The Arcade Fire 1.Neighborhood #1 (Tunnels)(4:48) 8.Haïti (4:07) 2.Neighborhood #2 (Laika)(3:32) 9.Rebellion (Lies)(5:10) 3.Une année sans lumière(3:40) 10.In the Back Seat(6:20) 4.Neighborhood #3 (Power Out)(5:12) 1.My Buddy (Alvino Rey Orchestra)(2:35) 5.Neighborhood #4 (7 Kettles)(4:49) 2.Neighborhood #3 (Power Out) (August...(5:35) 6.Crown of Love(4:42) 3.Brazil(3:56) 7.Wake Up(5:35) 4.Neighborhood #3 (Power Out) (Live) (5:57) Live EP 4 The Arcade Fire/David Bowie 1.Life on Mars?(4:56) 2.Wake Up(5:45) 3.Five Years (3:46) Audioslave 5 Audioslave 1.Cochise(3:48) 8.Exploder (3:29) 2.Show Me How to Live (4:37) 9.Getaway Car(4:58) 3.Gasoline(3:28) 4.Like a Stone(4:54) 5.I Am the Highway(5:35) 6.Hypnotize (3:26) 7.Bring Em Back Alive (5:35) Out of Exile 6 Audioslave 1.Your Time Has Come(4:15) 8.Man Or Animal(3:53) 15.Be Yourself(4:38) 2.Lay Your Burden Down(5:45) 9.Yesterday To Tomorr.. -
THE COWL, OCTOBER 30, 1968 Calliope's Creed Brother Antoninus Speaks Andy Dorman at Salve on Savagery of Love
SUBSCRIBER'S ADDRESS Football Rally Raymond Circle THE I PROVIDENCE COWL 10 P.M. Thursday I COLLEGE TEN PAGES PROVIDENCE COLLEGE, PROVIDENCE, R. I., OCTOBER 30, 1968 VOL. XXXI, NO. 6 Scholarship Committee Spilka Explains Traits To Revamp A réévaluation of the award• Of Faulkner's Compson ing of scholarships and finan• Last Thursday evening Mr. cial aid is being planned by cording to Mr. Spilka he is try• Mark Spilka of Brown Univer• the Committee on Scholarships. ing to bring "Christ alive." sity lectured on The Sound and Father John Peterson, O.P., Quentin's attraction to death the Fury: "Quentin Compson's is actually his yearning for his who succeeded Father Edward Universal Grief." Halton, O.P., as head of the grandfather's world — that of committee, has the immediate He pointed out that some the Old South, of bright uni• task of conducting a review of critics dismiss Quentin as a forms, of values like honor and the procedures currently in ef• neurotic. On the other hand, pride, of qualities like chival• fect at the college with regard Irving Howe has called him a ry. In other words, the modern to financial aid. "morally aware person." age is Quentin's adversary. Louis Mumford, Mr. Spilka In this process of review, the Like Joyce's Stephen Deda- noted, said that "the advent of scholarship committee will be lus, Quentin is an antihero. In the mechanical age meant the concerned chiefly with locating his stream of consciousness he death of the spiritual age." and updating existing informa• is searching for timeless veri• ties. -
Prindle Record Reviews - the Rolling Stones
Prindle Record Reviews - The Rolling Stones http://www.markprindle.com/rollinga.htm#1969 The oldest rock and roll band of all time special introductory paragraph! England's Newest Hit Makers 12x5 Now! Out Of Our Heads December's Children (And Everybody's) Big Hits (High Tide And Green Grass) Aftermath Got Live If You Want It Between The Buttons Flowers Their Satanic Majesties Request Beggars Banquet Rock And Roll Circus Let It Bleed Get Your Ya-Ya's Out! The Rolling Stones In Concert Metamorphosis Sticky Fingers Hot Rocks 1964-1971 More Hot Rocks (Big Hits And Fazed Cookies) Exile On Main Street Goats Head Soup It's Only Rock 'N' Roll 1969-1974: The Mick Taylor Years DVD Black And Blue Love You Live Some Girls Accidents Will Happen Emotional Rescue Tattoo You Still Life (American Concert 1981) Undercover Dirty Work Steel Wheels Flashpoint Voodoo Lounge Out Of Tears 7" Stripped Bridges To Babylon No Security Rarities 1971-2003 Live Licks A Bigger Bang 1 of 113 7/13/2010 1:43 PM Prindle Record Reviews - The Rolling Stones http://www.markprindle.com/rollinga.htm#1969 Shine A Light Rare And Unseen DVD Nobody has lasted this long (unless you count The Ventures, but that's iffy, what with the whole Nokie/Gerry /Nokie/Gerry, Howie/Mel/Joe/Mel/Leon shenanigan). With their first release popping out of the British underbelly in 1964 (and their next four before the end of '65), it's no wonder that they've been called "dinosaurs" for the past twenty years (even by the Ramones, who are no spring chickens themselves, quite franklin). -
Gender and 1960S Youth Culture: the Rolling Stones and the New Woman
Contemporary British History ISSN: 1361-9462 (Print) 1743-7997 (Online) Journal homepage: http://www.tandfonline.com/loi/fcbh20 Gender and 1960s Youth Culture: The Rolling Stones and the New Woman Andrew August To cite this article: Andrew August (2009) Gender and 1960s Youth Culture: The Rolling Stones and the New Woman, Contemporary British History, 23:1, 79-100, DOI: 10.1080/13619460801990104 To link to this article: http://dx.doi.org/10.1080/13619460801990104 Published online: 07 Apr 2009. Submit your article to this journal Article views: 3309 View related articles Citing articles: 6 View citing articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=fcbh20 Download by: [Jason Oakes] Date: 24 September 2015, At: 11:14 Contemporary British History Vol. 23, No. 1, March 2009, pp. 79–100 Gender and 1960s Youth Culture: The Rolling Stones and the New Woman Andrew August In the 1960s some young British women challenged established gender roles, pursuing education, careers and personal freedom. Many of them grew frustrated with the limitations of 1960s youth culture, and particularly of new permissive sexual norms. The Rolling Stones, as a significant cultural force and symbol of London youth culture and sexual ‘freedom’, became a focus for criticism of this culture growing out of the women’s liberation movement at the end of the decade and developing in the years since then. However, the Rolling Stones’ response to changing gender roles in this period was complex and contradictory. At times, their songs endorsed women’s subordination, rejecting their claims to independence.