The Story of the Yardbirds
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Jeff Beck (From the 1991 Album BECKOLOGY VOL 2 / JEFF BECK GROUP ) Transcribed by Tone Jone's Words and Music by Don Nix Arranged by Jeff Beck
GOING DOWN As recorded by Jeff Beck (From the 1991 Album BECKOLOGY VOL 2 / JEFF BECK GROUP ) Transcribed by Tone Jone's Words and Music by Don Nix Arranged by Jeff Beck A Intro w/Piano B Band Enter's Moderate Rock = 90 P 1 V e Ie 4 U Gtr I Gtr.1 Jeff Beck (Distortion f T A 17 B 3 sl. 8va 8va 4 e P V V V j V V V l j j l V V V Ie z V V V V V u u Full 1/4 Full [[[[[ M M M [[[[[[[[[[[ 15 T 18 (18) 15 18 3 A 3 5 3 3 B 3 1 3 H O 8va 8va 7 V V V e V k V V V V V V V V V V V V V V V V k Ie u [[[[[[[Full Full Full Full Full Full Full M M M M M M M 18 18 15 18 15 13 T 18 18 18 (18) 18 18 18 18 (18) A O O O O O B P H P sl. sl. V V V V V V V V V V 10 fV eV fV V V V eV fV V V V V V e l l j l j j l k d Ie V W V V V * Tremolo Bar Full 1 1/2 M * T 18 16 15 16 16 16 16 15 16 16 16 17 17 19 0 (0) A 15 14 15 15 15 15 14 15 15 B 1 sl. -
265 Edward M. Christian*
COPYRIGHT INFRINGEMENT ANALYSIS IN MUSIC: KATY PERRY A “DARK HORSE” CANDIDATE TO SPARK CHANGE? Edward M. Christian* ABSTRACT The music industry is at a crossroad. Initial copyright infringement judgments against artists like Katy Perry and Robin Thicke threaten millions of dollars in damages, with the songs at issue sharing only very basic musical similarities or sometimes no similarities at all other than the “feel” of the song. The Second Circuit’s “Lay Listener” test and the Ninth Circuit’s “Total Concept and Feel” test have emerged as the dominating analyses used to determine the similarity between songs, but each have their flaws. I present a new test—a test I call the “Holistic Sliding Scale” test—to better provide for commonsense solutions to these cases so that artists will more confidently be able to write songs stemming from their influences without fear of erroneous lawsuits, while simultaneously being able to ensure that their original works will be adequately protected from instances of true copying. * J.D. Candidate, Rutgers Law School, January 2021. I would like to thank my advisor, Professor John Kettle, for sparking my interest in intellectual property law and for his feedback and guidance while I wrote this Note, and my Senior Notes & Comments Editor, Ernesto Claeyssen, for his suggestions during the drafting process. I would also like to thank my parents and sister for their unending support in all of my endeavors, and my fiancée for her constant love, understanding, and encouragement while I juggled writing this Note, working full time, and attending night classes. 265 266 RUTGERS UNIVERSITY LAW REVIEW [Vol. -
BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected]
BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] ARTIST Johnny Burnette TITLE Johnny Burnette And The Rock ’n’ Roll Trio LABEL Bear Family Productions CATALOG # BAF 18012 PRICE-CODE BAF EAN-CODE ÇxDTRBAMy180125z FORMAT VINYL album 180g Vinyl • Pressed by Pallas Direct Metal Mastering: H.J. Maucksch at PaulerAcoustics GENRE Rock ‘n’ Roll G One of the first and maybe the greatest rockabilly albums ever! G Includes The Train Kept A'Rollin' – later recorded by the Yardbirds, Aerosmith and many others! G Includes many of the greatest guitar solos from the early days of rock 'n' roll! INFORMATION Johnny Burnette died in 1964 after scoring several pop hits in the early Sixties, including Dreamin', You're Sixteen, and Little Boy Sad. If, in the days or weeks before his death, he had been asked how he would be remembered, he would probably have said for those hits or for the songs he'd written for Ricky Nelson. And he would have been wrong. Today, Johnny Burnette is chiefly remembered for some sessions he cut in 1956 that resulted in no hits, but just about defined rockabilly as an art-form – in fact as a new musical life-form. This album, one of the first-ever rockabilly LPs, is still the best-ever rockabilly LP. From the early 1960s, collectors were paying big money for it. When musicologists and musicians deconstruct rockabilly and when revivalists reconstruct it, they're trying to unravel the magic of Johnny Burnette and the Rock 'n' Roll Trio. -
Robert Knight Was a Kid from P¯Alolo When He Fell for British
Robert Knight was a kid from Palolo¯ when he fell for British rock— and his passion led to some of the best photography in rock ‘n’ roll 98 99 o understand just how resourceful and adventurous Robert Knight is, you have to cast your mind back to a time before the web connected everyone and everything, a time when there was far more mystery in the world. Information was random and scarce, and one’s whole life direction could be determined by a chance finding. Knight was 16 and exploring in Waikïkï one day in 1965 when he came across some music “Being a photographer of rock concerts magazines left behind by British tourists. The son of a Baptist is very similar to shooting a war,” says Knight, “because you can’t control minister, he’d grown up in Honolulu’s Pälolo valley, forbidden anything. The lighting keeps changing, the artist is moving around. You’re basically a sniper: A guy puts his head to watch movies and listen to rock music — not that there was up, you shoot it. You can’t be wasting time trying to figure out exposures.” much rock music in Honolulu in those days, with the airwaves Knight loved to photograph Mick Jagger (seen here playing a show in Honolulu in 1973). “Smart. Just smart,” he says of full of the Kingston Trio and Jan & Dean. Knight pored over him. “Also, he’s an absolute fitness freak.” The singer, says Knight, played characters on stage, one way to handle the magazines and their pictures of strange-looking people his shyness. -
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. -
BLOW up De Michelangelo Antonioni
Simon LAURENT MAITRISE IECA HISTOIRE DU CINEMA BLOW UP de Michelangelo Antonioni Dossier téléchargé depuis le site www.lotus-mineral.com AVRIL 2004 1 SOMMAIRE Générique ..................................................................... 3 Biographie ................................................................... 5 Filmographie ............................................................... 6 Résumé.......................................................................... 11 Découpage séquentiel.................................................... 12 Découpage de la séquence 14 ....................................... 16 Analyse de la séquence 14 ........................................... 23 La représentation de l’Angleterre.................................. 29 Analyse personnelle ...................................................... 34 Relevé de citations ........................................................ 40 Cahier critique............................................................... 46 Bibliographie ................................................................ 49 2 Générique : Blow up Réalisateur : Michelangelo Antonioni Assitant réalisateur : Claude Watson Scénario : Michelangelo Antonioni & Tonino Guerra d’après la nouvelle « Las babas del diablo » de Julio Cortázar Dialogues anglais : Edward Bond Distribution Vanessa Redgrave : Jane Sarah Miles : Patricia David Hemmings : Thomas John Castle : Bill Jane Birkin : La femme blonde Gillian Hills : La femme brune Peter Bowles : Ron Veruschka von Lehndorff : Verushka Julian -
Joe's Cozy Powell Collection
Joe’s Cozy Powell Collection Cozy POWELL singles Dance With The Devil / And Then There Was Skin {UK}<7”> Dance With The Devil / And Then There Was Skin {UK / Belgium}<export 7”, p/s (1), orange lettering> Dance With The Devil / And Then There Was Skin {UK / Belgium}<export blue vinyl 7”, p/s (1), orange / white lettering> Dance With The Devil / And Then There Was Skin {UK / Denmark}<export 7”, different p/s (2)> Dance With The Devil / And Then There Was Skin {Germany}<7”, different p/s (3)> Dance With The Devil / And Then There Was Skin {Holland}<7”, different p/s (4)> Dance With The Devil / And Then There Was Skin {Holland}<7”, reissue, different p/s (5)> Dance With The Devil / And Then There Was Skin {EEC}<7”, Holland different p/s (6)> Dance With The Devil / And Then There Was Skin {Mexico}<7”, different p/s (7)> Dance With The Devil / And Then There Was Skin {Spain}<7”, different p/s (8)> Dance With The Devil / And Then There Was Skin {Italy}<7”, different p/s (9)> Dance With The Devil / And Then There Was Skin {France}<7”, different p/s (10)> Dance With The Devil / And Then There Was Skin {Turkey}<7”, different p/s (11)> Dance With The Devil / And Then There Was Skin {Yugoslavia}<7”, different p/s (12)> Dance With The Drums / And Then There Was Skin {South Africa}<7”> Dance With The Devil / And Then There Was Skin {Ireland}<7”> Dance With The Devil [mono] / Dance With The Devil [stereo] {USA}<promo 7”> Dance With The Devil / And Then There Was Skin {USA}<7”> Dance With The Devil / And Then There Was Skin {Sweden}<7”> Dance With The -
THE BIRTH of HARD ROCK 1964-9 Charles Shaar Murray Hard Rock
THE BIRTH OF HARD ROCK 1964-9 Charles Shaar Murray Hard rock was born in spaces too small to contain it, birthed and midwifed by youths simultaneously exhilarated by the prospect of emergent new freedoms and frustrated by the slow pace of their development, and delivered with equipment which had never been designed for the tasks to which it was now applied. Hard rock was the sound of systems under stress, of energies raging against confnement and constriction, of forces which could not be contained, merely harnessed. It was defned only in retrospect, because at the time of its inception it did not even recognise itself. The musicians who played the frst ‘hard rock’ and the audiences who crowded into the small clubs and ballrooms of early 1960s Britain to hear them, thought they were playing something else entirely. In other words, hard rock was – like rock and roll itself – a historical accident. It began as an earnest attempt by British kids in the 1960s, most of whom were born in the 1940s and raised and acculturated in the 1950s, to play American music, drawing on blues, soul, R&B, jazz and frst-generation rock, but forced to reinvent both the music, and its world, in their own image, resulting in something entirely new. However, hard rock was neither an only child, nor born fully formed. It shared its playpen, and many of its toys, with siblings (some named at the time and others only in retrospect) like R&B, psychedelia, progressive rock, art-rock and folk-rock, and it emerged only gradually from the intoxicating stew of myriad infuences that formed the musical equivalent of primordial soup in the uniquely turbulent years of the second (technicolour!) half of the 1960s. -
When Giants Walked the Earth
ORION WHEGIA Unit $$PR Page 3 When Giants walked—PKY—234x153mm WHEGIAPR01 When Giants Walked the Earth A BIOGRAPHY OF MICK WALL Input Data Services Ltd 10-02-2008 10:23:58 ORION WHEGIA Unit $$$1 Page 3 When Giants walked—PKY—234x153mm WHEGIA0101 PART ONE Ascension! ‘Worship me with wines and strange drugs whereof I shall tell my prophet, and be drunk thereof! They shall not harm ye at all!’ – Aleister Crowley, The Book of the Law Input Data Services Ltd 10-02-2008 08:33:49 ORION WHEGIA Unit $$$1 Page 4 When Giants walked—PKY—234x153mm WHEGIA0101 Input Data Services Ltd 10-02-2008 08:33:49 ORION WHEGIA Unit $$$1 Page 5 When Giants walked—PKY—234x153mm WHEGIA0101 The Dawn of Now 5 1 The Dawn of Now ou are Jimmy Page. It is the summer of 1968 and you are one of the Y best-known guitarists in London – and one of its least famous. Even the past two years in the Yardbirds haven’t brought you the recognition you know you deserve. People talk about the Yardbirds as though Jeff Beck is still the guitarist, not you, despite everything you’ve done for them; giving up the easy-money session gigs that bought you your house by the river; gifting them one last ride on the merry-go-round with ahead-of-the-game hits like ‘Happening Ten Years Time Ago’, even as Mickie Most sucked the life out of them making them do codswallop like ‘Ha Ha Said The Clown’; sticking with them as their profile has slowly faded from view, along with their own self-worth. -
Eric Clapton
Eric Clapton http://www.gibson.com/Products/Electric-Guitars/Les-Paul/Gibson- Custom/Eric-Clapton-1960-Les-Paul.aspx Group 2 Lauren Hartmann, Sarah Youssef, Benjamin Markham, and Suyog Dahal Overview ❖ Artist Biography ❖ Musical Influences ❖ Musical Style ❖ Other Music at the Time ❖ Musical Analysis ❖ Clapton’s Influence ❖ Legacy http://www.ericclapton.com/eric-clapton-biography?page=0%2C2 ❖ Conclusion ❖ References Why We Chose Eric Clapton ❖ We chose Eric Clapton because he is considered one of the most important and influential guitarist of times. ❖ We were interested to learn about how his personal life and choices influenced his musical style. http://thubakabra.deviantart.com/art/Eric- Clapton-333962401 Eric Clapton’s Early Life ❖ Born Eric Patrick Clapton on March 30, 1945 ❖ The son of an unmarried couple, Patricia Molly Clapton and and Edward Walter Fryer. ❖ Edward Walter Fryer was a Canadian soldier stationed in England during WWII. Before Eric was born he returned to his wife back in Canada. ❖ It was difficult on Patricia to raise Eric on her own. Her parents, Rose and Jack Clapp were the primary caregiver of Eric, and raised him http://www.seymourduncan.com/forum/ as their own. showthread.php?127804-quot-So-and-so-played- THIS-guitar-quot (Eric Clapton and WBR, n.d.). Eric Clapton’s Early Life ❖ He was brought up in a musical household ➢ His grandmother played the piano ➢ His mother and uncle always had big bands playing throughout the house ❖ At the age of 9 he found out the truth about his parents ➢ Was affected tremendously by this truth and began to be moody and distant. -
The Yardbirds, Eric Clapton, Jeff Beck
The Yardbirds The Yardbirds mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Blues Album: The Yardbirds Country: UK Released: 2001 Style: Blues Rock MP3 version RAR size: 1219 mb FLAC version RAR size: 1954 mb WMA version RAR size: 1583 mb Rating: 4.4 Votes: 629 Other Formats: MPC MP1 WAV MP4 DTS VOX XM Tracklist Disc 1 1 Too Much Monkey Business 2 Got Love If You Want It 3 Smokestack Lightnin' 4 Good Morning Little Schoolgirl (Live) 5 Respectable 6 Five Long Years 7 Pretty Girl 8 Louise 9 I'm A Man (Live) 10 Here 'Tis 11 I Wish You Would 12 A Certain Girl 13 I Ain't Got You 14 Got To Hurry 15 Let It Rock 16 Out On The Water Coast (With Sonny Boy Williamson) Disc 2 17 For Your Love 18 Heart Full Of Soul 19 Evil Hearted You 20 Still I'm Sad 21 Shapes Of Things 22 Good Morning Little Schoolgirl 23 Baby What's Wrong 24 You Can't Judge A Book By Its Cover 25 I'm A Man 26 Steeled Blues 27 I Ain't Done Wrong 28 You're A Better Man Than I 29 My Girl Sloopy 30 The Train Kept A Rollin' 31 Jeff's Blues 32 Take It Easy Baby (With Sonny Boy Williamson) Companies, etc. Copyright (c) – Sanctuary Records Group Ltd. Barcode and Other Identifiers Barcode: 5038456126727 Label Code: LC6448 Related Music albums to The Yardbirds by The Yardbirds Eric Clapton - Eric's Blues The Yardbirds - Greatest Hits Yardbirds Featuring Eric Clapton And Jeff Beck - Immortal Yardbirds The Yardbirds - 23 All Time Greatest Hits Eric Clapton - The Album The Yardbirds Featuring Eric Clapton, Jeff Beck & Jimmy Page - The Very Best Of The Yardbirds The Yardbirds - The Ultimate Collection The Yardbirds - 31 Rock Standards. -
Wanderer's Handbook
A Wanderer’s Handbook A Wanderer’s Handbook An Owner’s Manual For ETs And Other Spiritual Outsiders The Abridged Version Written by Carla Lisbeth Rueckert Abridged by Jim McCarty Published by L/L Research Louisville, Kentucky Copyright © 2001 L/L Research All rights reserved. No part of this book may be reproduced or used in any form or by any means—graphic, eleronic or mechanical, including photocopying or information storage and retrieval systems—without written permission from the copyright holder. ISBN: 0-945007-16-7 Library of Congress Control Number: 2001117026 Published by L/L Research Box 5195 Louisville, Kentucky 40255-0195 Telephone and Fax: (502) 245-6495 E-mail: [email protected] Printed in the United States of America. This handbook is dedicated to: Don Elkins, beloved companion, great soul, visionary, scientist, philosopher, questioner and still my teacher on the inner planes and Jim McCarty, widest-awake wanderer, wondrous husband, shaman, artist, gardener, gentleman, gallant knight and the best person I have ever known. SOLI DEO GLORIA Acknowledgements Thanks to: St. James of the Gardens, Jim McCarty, for ceaseless months of data colleion, editing and abridging, for believing in the work throughout six years of trial and error, for being the most supportive husband in the universe. Ian Jaffray, for incredible patience in editing and designing this volume, for converting our channeling archive to digital form so that we could search it for topics for this handbook and for setting up our web site and maintaining it for many years. I could never have colleed these stories without you.