Peter Frampton Frampton Comes Alive 35

Total Page：16

File Type：pdf, Size：1020Kb

FOR IMMEDIATE RELEASE APRIL 26, 2011 RIVER ROCK CASINO RESORT PRESENTS PETER FRAMPTON FRAMPTON COMES ALIVE 35 SSATURDAY, SEPTEMBER 24 Richmond, BC – Peter Frampton remains one of the most celebrated artists and guitarists in rock history. It was at the age of 16 that he joined British teen band, the Herd as lead singer when two years later, he co- founded the rock band, Humble Pie. After leaving the group in 1971 to pursue a solo career, he released four albums before his double live album, Frampton Comes Alive! was released in 1976. The album spent a total of seventeen weeks at the top of the US charts and became the biggest selling live rock album up until that time. It also spawned a trio of hits in “Show Me the Way”, “Do You Feel Like We Do” and the ballad, “Baby, I Love Your Way”. Following his critically acclaimed new album, Thank You Mr. Churchill, Frampton will be embarking on a world tour this summer as he celebrates the 35th anniversary of Frampton Comes Alive! performing the legendary album in its entirety across North America, South America, Europe, Asia, Australia and New Zealand. His concerts will also feature highlights from Frampton’s catalogue including his Grammy Award-winning instrumental album, 2006’s Fingerprints. The tour will include a performance at the River Rock Casino Resort in September. TICKETS ON SALE THURSDAY, APRIL 28 @ 10:00 AM DOORS 7:00 PM SHOW 8:00 PM Tickets: Orchestra $69.50 & Golden Circle $84.50 (+ Service Charges) Tickets available at all Ticketmaster Outlets or charge-by-phone 1-855-985-5000 or order on-line at www.ticketmaster.ca Ages 19 years and over Additional Information Contact: Howard Blank - Vice-President, Media & Entertainment TEL: (604) 303-1000 FAX: (604) 247-8605 [email protected] Donnie Gordon - Manager, Entertainment Publicity & Promotions TEL: (604) 247-4127 FAX: (604) 247-8587 [email protected] .

Copy Link

Recommended publications

In the Studio: the Role of Recording Techniques in Rock Music (2006)
21 In the Studio: The Role of Recording Techniques in Rock Music (2006) John Covach I want this record to be perfect. Meticulously perfect. Steely Dan-perfect. -Dave Grohl, commencing work on the Foo Fighters 2002 record One by One When we speak of popular music, we should speak not of songs but rather; of recordings, which are created in the studio by musicians, engineers and producers who aim not only to capture good performances, but more, to create aesthetic objects. (Zak 200 I, xvi-xvii) In this "interlude" Jon Covach, Professor of Music at the Eastman School of Music, provides a clear introduction to the basic elements of recorded sound: ambience, which includes reverb and echo; equalization; and stereo placement He also describes a particularly useful means of visualizing and analyzing recordings. The student might begin by becoming sensitive to the three dimensions of height (frequency range), width (stereo placement) and depth (ambience), and from there go on to con sider other special effects. One way to analyze the music, then, is to work backward from the final product, to listen carefully and imagine how it was created by the engineer and producer. To illustrate this process, Covach provides analyses .of two songs created by famous producers in different eras: Steely Dan's "Josie" and Phil Spector's "Da Doo Ron Ron:' Records, tapes, and CDs are central to the history of rock music, and since the mid 1990s, digital downloading and file sharing have also become significant factors in how music gets from the artists to listeners. Live performance is also important, and some groups-such as the Grateful Dead, the Allman Brothers Band, and more recently Phish and Widespread Panic-have been more oriented toward performances that change from night to night than with authoritative versions of tunes that are produced in a recording studio.
[Show full text]
CAN DO the Walker High School Senior Knew Recyclers Help Cans Take a Circuitous That Was Where She Route Back to Grocers’ Coolers Wanted to Play Col- Lege Volleyball
INSIDE TODAY: Alabama lawmakers hit midway point of legislative session / A4 MARCH 13, 2016 JASPER, ALABAMA — SUNDAY — WWW.MOUNTAINEAGLE.COM $1.50 INSIDE Staying safe on Sunday Carbon Hill First Baptist Church forms security committee By JENNIFER COHRON As a result, a new security committee Daily Mountain Eagle has spent the last several months look- ing for ways to prevent the kind of On Sunday morning, the doors of Car- tragedies that have happened in college bon Hill First Baptist Church are open classrooms, public buildings, theaters to all, including those who may wish to and churches in the past year. do harm to those gathered for a time of worship. See SECURITY, A8 Walker High’s Daily Mountain Eagle - Dale Short Harris signs 2016 ELECTRATHON GRAND PRIX Jason Farley stands alongside bundles of alu- with Mobile minum cans ready for shipping to a mill. Anna Claire Harris’ first trip to Mobile University came as a seventh grader. Since that first visit, CAN DO the Walker High School senior knew Recyclers help cans take a circuitous that was where she route back to grocers’ coolers wanted to play col- lege volleyball. She By DALE SHORT Daily Mountain Eagle made the move of- ficial on Wednes- day. / B1 ou take the last sip from the can, toss it in the Y nearest receptacle, and go about your day. What happens to the can? There’s an increas- ing chance that the aluminum it contains will even- BRIEFS tually be made into a new can that ends up in your grocer’s cooler.
[Show full text]
Índex Global VOLUM I
Disseny i elaboració d'una unitat d'efecte auditiu de tipus talkbox per a instruments musicals 1 Índex Global VOLUM I A Objectius B Desenvolupament del treball 1 Fonaments teòrics 1.1 So i tecnologia del so 1.1.1 Transmissió del so 1.1.2 Intensitat del so. Rang d'audició 1.1.3 Alçada del so. El to 1.1.4 Reflexió, refracció i difracció 1.1.5 Electroacústica 1.1.6 Micròfons. Tipus i usos 1.1.7 Altaveus. Tipus i usos 1.1.8 Amplificadors, equalitzadors, mescladors i altres màquines 1.1.9 Reverberació, efecte Larsen i intel·ligibilitat del so 1.1.10 El camí del senyal 1.1.11 L'importància d'un bon cable 1.1.12 Processament del senyal 1.2 Introducció a la psicoacústica 1.2.1 L'escala logarítmica 1.2.2 El rang audible de freqüències 1.2.3 Sensibilitat màxima i mínima 1.2.4 Fidelitat del so 1.2.5 Estèreo 1.2.6 Dolby Digital i DTS 1.3 Resistències 1.3.1 Introducció 1.3.2 Comportament en corrent continu i corrent altern 1.3.3 Tipus de resistències 1.3.4 Associacions de resistències 1.3.5 El resistor 1.3.6 Codi de colors 1.3.7 Potenciòmetres 1.4 Inductors 1.4.1 Introducció Disseny i elaboració d'una unitat d'efecte auditiu de tipus talkbox per a instruments musicals 2 1.4.2 Model matemàtic de l'inductor 1.4.3 Comportament en corrent continu i corrent altern 1.4.4 Associacions d'inductors 1.4.5 Tipus d'inductors 1.4.6 Problemes dels inductors 1.5 Condensadors 1.5.1 Introducció 1.5.2 Comportament en CC i CA 1.5.3 Càrrega i descàrrega d'un condensador 1.5.4 Associacions de condensadors 1.5.5 Fenòmens paràsits dels condensadors 1.5.6 Tipus i usos de condensadors 1.5.7 Conclusions sobre els condensadors 1.6 Transistors 1.6.1 Història i fonaments físics del transistor 1.6.2 Díodes 1.6.3 Transistors i vàlvules termoiòniques 1.6.3 Funcionament bàsic del transistor.
[Show full text]
1 Frampton Comes Alive!
1 FRAMPTON COMES ALIVE! AGAIN WITH 25TH ANNIVERSARY SPECIAL EDITION OF THE BEST-SELLING LIVE ALBUM OF ALL TIME A special edition of Peter Frampton’s breakthrough album Frampton Comes Alive! will be released January 9, 2001. A two-CD package, newly remixed and remastered, Frampton Comes Alive!: 25th Anniversary Special Edition (A&M/UME) features not only the hits “Show Me The Way,” “Do You Feel Like We Do” and “Baby, I Love Your Way” but adds four previously unreleased tracks to the best-selling live album in history. This special issue celebrates one of the most popular albums of the rock era and the era itself for an entire generation. To augment the landmark release, Frampton personally sorted through eight shows originally taped for use in creating the 1976 album, and chose three songs not included largely due to the time constraints of the vinyl format. “Just The Time Of Year,” “Nowhere’s Too Far (For My Baby)” and “White Sugar” come from the same shows used to create the original album. In addition, to close the revamped album, Frampton selected a recording of “Days Dawning” from a live studio performance taped for a radio station promotion during the same time period. Presented in an expansive deluxe digipak, the 25th Anniversary Special Edition sports the original cover and essay by Cameron Crowe, complemented by a booklet with new photos and additional liner notes, including where and when each track was recorded (details left off the original packaging). By 1975, Frampton had already won recognition as a guitarist, vocalist and songwriter in the acclaimed British ensemble Humble Pie and as a solo artist on a series of increasingly successful albums.
[Show full text]
The Roots Report: Peter Frampton at Twin River
The Roots Report: Peter Frampton at Twin River Okee dokee folks … The other night I had a chance to relive a bit of my youth. I saw Peter Frampton in concert for the first time in 35+ years. Back when I was 16 years old, the Peter Frampton concert at the Civic Center was the hottest ticket in town. The show at Twin River seemed to be at capacity, but unlike the teen crowd in the ’70s this gathering was much, much, MUCH older. It was like an episode of “The Twilight Zone.” If I closed my eyes and listened, I was 16 again. But when I opened them I was shocked back to reality when I saw Frampton and the AARP crowd. After being introduced by some guy (unknown to me, anyway) in a top hat and dreadlocks as “Peter F*ckin’ Frampton,” Frampton took the Twin River stage at about 8:10. He came out playing the lead track from his blockbuster ’76 live album Frampton Comes Alive. He was backed by a four-piece band of guitar, bass, keys and drums. Without stopping, the band launched right into the next song, which was a cover of Bowie’s “Rebel, Rebel.” They continued non-stop into “Doobie Wah.” After a change of guitars from a Les Paul to a hollow body electric, Frampton led the band with “Show Me The Way” and stepped to the center microphone where his signature talk-box was waiting to wah. After this, he took a moment to address the audience. “Good evening, Lincoln.
[Show full text]
Chain of Fools
Chain of fools (Cm) Fire to the rain The best (F) Firework Ain’t nobody (Original) Empire state of mind I’m outta love (Bb) This girl is on fire Proud Mary (D) Use somebody Stand by me (C) You're not the only one Get here (B) Titanium Lady Marmalade –Moulin Rouge-Version (G) Heavy cross My love is your love (Original) Halo beyonce Think Ja I will survive (A All Night Long Natural woman (Bb) Mercy Me and Bobby McGee Hello / Adele Route 66 (F) My Girl Fever (Cm) A Night like this h Upside down September We are family Happy You’ve got a friend (A) Get Lucky Dock of the bay (D) Don't stop believing Journey Ain’t no sunshine (Dm) Alarm Get this party started (Pink – Original) Oh happy Day Sisteract Version My Endless Love Sisters are doing it for themselve Fallin‘ Next to me Free your mind ( Original)nur zu 3. Perfekt Bei mir bist du sheen (Cm) No roots Straighten up and fly right (F) Like the way I do My All Come on over (Eb) A better Man – Keb Mo Family portrait (Pink – Orig.) A Horse with no Name – America Beautiful Aint no Sunshine – Bill Withers Fly me to the moon (E) All of me – John Legend Hero Always lokk on the bright side of Life – Monty P Pokerface Another Brick in the Wall – Pink Floyd Some kind of wonderful (Joss Stone-Version) Another Cup of Coffee – Mike & Mech. Horny (Live-Version -B- ) Mousse T. Baby I love your way – Peter Frampton Sing it back Orig.
[Show full text]
1 All His Greatest Hits, from “Show Me the Way” and “Do You Feel Like We Do” to “Baby I Love Your Way,” on New the B
1 ALL HIS GREATEST HITS, FROM “SHOW ME THE WAY” AND “DO YOU FEEL LIKE WE DO” TO “BABY I LOVE YOUR WAY,” ON NEW THE BEST OF PETER FRAMPTON From Superstar to Elder Statesmen, Peter Frampton remains one of rock’s most prolific guitarists. The July 8 release of The Best Of Peter Frampton edition of 20th Century Masters/The Millennium Collection (A&M/UME), offers a succinct retrospective of his glorious past. The collection features 10 digitally remastered selections from his first eight solo albums, spanning 1972 to 1981, and includes all six of his Top 20 hits. For those who only remember his poster image, it is worth noting that Frampton produced every track and wrote every song except his cover of Stevie Wonder’s “Signed, Sealed, Delivered (I’m Yours).” As a 16-year-old guitar prodigy who wanted nothing more than to be taken seriously as a musician, Frampton joined The Herd in 1966. After launching Humble Pie with Steve Marriott, he went solo with 1972’s Wind Of Change, represented on The Best Of Peter Frampton by “All I Want To Be (Is By Your Side).” 1973’s Frampton’s Camel served up the ballad “Lines On My Face” and the following year brought Somethin’s Happening’s “Baby (Somethin’s Happening).” His musical and commercial progression continued with the idyllic Top 20 “Nassau/Baby I Love Your Way” from 1975’s gold Frampton. That album’s “Show Me The Way” was heard in its Top 10 version on 1976’s #1 Frampton Comes Alive!, which set a new mark for the biggest-selling live album in history and continues to add to its worldwide sales of more than 16 million copies.
[Show full text]
The Final Cut Plotting World Domination from Altoona
DECEMBER 30, 2000 VOLUME 15 #3 The Final Cut Plotting world domination from Altoona Otherwise, CD/Tape/Culture analysis and commentary with D’Scribe, D’Drummer, Da Boy, D’Ump, Da Common Man, D’ Big Man, Al, D’Pebble, Da Beer God and other assorted riff raff... D'RATING SYSTEM: 9.1-10.0 Excellent - BUY OR DIE! 4.1-5.0 Incompetent - badly flawed 8.1-9.0 Very good - worth checking out 3.1-4.0 Bad - mostly worthless 7.1-8.0 Good but nothing special 2.1-3.0 Terrible - worthless 6.1-7.0 Competent but flawed 1.1-2.0 Horrible - beyond worthless 5.1-6.0 Barely competent 0.1-1.0 Bottom of the cesspool abomination! PROVING THAT RUMORS OF THIS ‘ZINE’S DEMISE ARE GREATLY EXAGGERATED, here FINALLY is a new edition of the Cut. I won’t waste a whole lot of time and space analyzing why we haven’t put out a new issue in so long. I’ll just say that I’ve been one EXTREMELY busy person this past year, and wasn’t able to sink the time into the Cut that I wanted to. In fact, I’m just NOW starting to get caught up writing about all the stuff that happened last summer – concerts, vacations, album reviews, etc. And I still have more to do! So next issue, our “end of year recap” issue, will also feature some reviews from last summer, and other takes and B-S I need to get out of my system.
[Show full text]
The People's Museum of Musical Heritage
JAMES BRUBAKER The PeoPle’s MuseuM of Musical heriTage 1. The Stradivarius My first find for the museum: a Stradivarius violin. Or that’s what I thought. I pulled the instrument out of an antique shop in New York. There were two small food dishes just inside the door, blue ceramic and flower shaped, cat-sized, and a heavy blanket of dust, like kudzu, covering the remaining merchandise. The store appeared to have been deserted for at least a decade, judging from the accumulated dust. The violin was in a back corner, on a shelf behind an iron grate that was locked with a padlock. My torch made short work of the lock. I pulled the instrument off the shelf and wiped a clear patch off the front. Dust fell away like dryer lint. I blew into the instrument’s f-holes and, when the resulting dust cleared, I was thrilled by what I saw: “—varius.” A few more puffs of breath into the violin revealed the full name, Stradivarius. I learned about the fabled Stradivarius violin from 41 a book about classical music, containing a chapter on famous performers THE PEOPLE’S MUSEUM OF MUSICAL HERITAGE and their instruments. Due to this book’s explication of the instrument’s rarity, I was determined to find one. I figured the artifact I had found was a German-made reproduction, produced in the 1950’s and worth only the materials used in its construction, until I returned to my workshop at the museum and examined the instrument against an old dealer’s guide.
[Show full text]
Ivardensphere Porcelain / Glamour Massiv in Mensch Anticipation / Coats Gowns Bibian Blue Kelleth
enchanted evening fetish / boots heels iVardensphere porcelain / glamour massiv in mensch anticipation / coats gowns bibian blue kelleth DECEMBER/JANUARY 2010/2011 editor‘ s letter mission statement It’s our two-year anniversary! I can’t believe we’ve made it this far. Thanks for Auxiliary Magazine. auxiliary = alternative, supplementary, to provide what is reading and for your support over the last two years. We feel so lucky to have the missing, to give support. support we do and to work with the people we have. A great issue is ahead of you, contents bibian blue : 35 full of enchanting fashion for the winter season, festive features for the holidays, We have always had a love for the different, the unique, the creative. But from all massiv in mensch : 37 and the best music of the year. We have a lot of great plans in store, so look out sides we’ve heard what we love is on its way out, is suffering, is dying, is dead. for exciting things in the next year. Keep in touch and stay current by joining our Today an alternative aesthetic is seen more than ever. Yet the core, the base, the iVardensphere : 30 mailing list, following us on twitter, liking us on facebook, and looking for us in scene; everyone is telling us is in a sad state. Reality is what you make it. kelleth : 21 the sea of all those other social networks out there. We couldn’t have done it with- out you! As we grow over the next year we are looking for feedback, so please Our goal is to provide high quality fashion editorials, photographs, and articles; fetish .
[Show full text]
ARTIST SONG 10,000 Maniacs These Are Days 3 Doors Down Kryptonite
ARTIST SONG 10,000 Maniacs These Are Days 3 Doors Down Kryptonite 311 Beautiful Disaster 38 Special Hold on Loosely 4 Non-Blondes What's Up AC/DC Back in Black AC/DC Borrowed Time AC/DC Dirty Deeds, Done Dirt Cheap AC/DC Down on the Borderline AC/DC Down Payment Blues AC/DC For Those About to Rock AC/DC Hell's Bells AC/DC Highway To Hell AC/DC It's A Long Way To The Top AC/DC Ride On AC/DC Rock 'n Roll Train AC/DC Shoot to Thrill AC/DC Sin City AC/DC T.N.T. AC/DC Thunderstruck AC/DC Walk All Over You AC/DC You Shook Me All Night Long Adam Lambert What Do You Want From Me Adele I'll Be Waiting Adele Rolling in the Deep Aerosmith Walk This Way AFI Girl's Not Grey Aimee Mann Humpty Dumpty Aimee Mann That's Just What You Are Aimee Mann The Moth Al Green Can't Get Next To You Al Green Love & Happiness Al Green Take Me To The River Alabama Shakes Hold On (AS) Alain Toussaint Hang Tough Alan Jackson Mercury Blues Alanis Morrisette Hands Clean Albert Collins Don't Lose Your Cool Albert Collins Iceman Albert Collins If You Love Me Like You Say Albert Collins Put The Shoe On The Other Foot Albert King Born Under A Bad Sign Albert King I'll Play The Blues For You Albert King Kansas City Albert King Little Brother Albert King Personal Manager Alice Cooper School's Out Alice In Chains Man In The Box Alice in Chains Rooster ARTIST SONG Alkaline Trio Dethbed Alkaline Trio This Could Be Love All American Rejects Move Along All American Rejects Swing, Swing Allanah Miles Black Velvet Allman Bros.
[Show full text]
Guitar/Effects Pedals - Wikibooks, Open Books for an Open World Guitar/Effects Pedals
2/20/13 Guitar/Effects Pedals - Wikibooks, open books for an open world Guitar/Effects Pedals Effects Pedals are electronic devices that modify the tone, pitch, or sound of an electric guitar. Effects can be housed in effects pedals, guitar amplifiers, guitar amplifier simulation software, and rackmount preamplifiers or processors. Electronic effects and signal processing form an important part of the electric guitar tone used in many genres, such as rock, pop, blues, and metal. All these are inserted into the signal path between an electric instrument and the amplifier. They modify the signal coming from the instrument, adding "effects" that change the way it sounds in order to add interest, create more impact or create aural soundscapes. Guitar effects are also used with other instruments in rock, pop, blues, and metal, such as electronic keyboards and synthesizers. Electric bass players use bass effects, which are designed to work with the low-frequency tones of the bass. Distortion-related effects Distortion is an important part of an electric guitar's sound in many genres, particularly for rock, hard rock, and metal. A distortion pedal takes a normal electric guitar signal and combine harmonic multiplication and clipping through the use of analog circuitry to create any number of sounds ranging from a fuzz sound to the sound of an overdriven tube amp and beyond! Distortion is essential to Heavy Metal Music. There are several different types of distortion effects, each with distinct sonic characteristics. These include overdrive/distortion (or vacuum tube- style distortion), overdrive/crunch, fuzz, and hi-gain. Overdrive Distortion Boss DS1 distortion pedal Overdrive distortion is the most well known of all distortions.
[Show full text]