Discography of the Turbo Label
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MCA-700 Midline/Reissue Series
MCA 700 Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan MCA-700 Midline/Reissue Series: By the time the reissue series reached MCA-700, most of the ABC reissues had been accomplished in the MCA 500-600s. MCA decided that when full price albums were converted to midline prices, the albums needed a new number altogether rather than just making the administrative change. In this series, we get reissues of many MCA albums that were only one to three years old, as well as a lot of Decca reissues. Rather than pay the price for new covers and labels, most of these were just stamped with the new numbers in gold ink on the front covers, with the same jackets and labels with the old catalog numbers. MCA 700 - We All Have a Star - Wilton Felder [1981] Reissue of ABC AA 1009. We All Have A Star/I Know Who I Am/Why Believe/The Cycles Of Time//Let's Dance Together/My Name Is Love/You And Me And Ecstasy/Ride On MCA 701 - Original Voice Tracks from His Greatest Movies - W.C. Fields [1981] Reissue of MCA 2073. The Philosophy Of W.C. Fields/The "Sound" Of W.C. Fields/The Rascality Of W.C. Fields/The Chicanery Of W.C. Fields//W.C. Fields - The Braggart And Teller Of Tall Tales/The Spirit Of W.C. Fields/W.C. Fields - A Man Against Children, Motherhood, Fatherhood And Brotherhood/W.C. Fields - Creator Of Weird Names MCA 702 - Conway - Conway Twitty [1981] Reissue of MCA 3063. -
The Heart of Rock and Soul by Dave Marsh
The Heart of Rock and Soul by Dave Marsh 90 LOVE IS STRANGE, Mickey and Sylvia Produced by Bob Rolontz; written by Ethel Smith [Bo Diddley] Groove 0175 1957 Billboard: #11 Mickey Baker's middle name was "Guitar," or anyway that's how they billed the tough, red-headed Kentuckian as one of the leaders of the great band featuring saxophonists Sam "The Man" Taylor and King Curtis that dominated New York's R&B recording scene in the fifties. Sylvia - Little Sylvia, she was originally called - was a lot younger than Mickey but she convinced him to teach her guitar. It was also Sylvia's idea that she and Mickey should form a team (although he swears he couldn't convince her to make their relationship more intimate, which suggests something about the veracity of things that happened later). They hooked up musically sometime in 1955. Their manager persuaded Bob Rolontz, a former Billboard reporter running Groove Records, RCA's R&B label, to sign them up. They came up with "Love is Strange" at their second session. Allegedly, they were given the song by Ethel Smith, Bo Diddley's wife. Maybe they were, but Smith didn't write it. Bo did. He didn't want to cut it himself because he was pissed off at his music publishers because they never gave him enough money, so he passed the song along. Rolontz at first thought the concept was crazy, especially because they wanted a children's chorus to sing the refrain, then insisted that the duo sing it themselves and rehearse the number with unheard-of thoroughness. -
The Roots Music Magazine Including Rock'n'roll, R&B, Soul, Jazz, Folk
www.tftw.org.uk £1/19/11d - £2.00 - €3.00 - $3.75 The Roots Music Magazine including Rock'n'Roll, R&B, soul, jazz, folk, The Roots Music Networking Group country and 58 much more ALL ARTICLES/IMAGES ARE COPYRIGHT OF THEIR RESPECTIVE AUTHORS FOR REPRODUCTION, PLEASE CONTACT ALAN LLOYD VIA TFTW.ORG.UK The sound of Robb Davis’s double bass being slapped as Brian ‘Bunter’ Clark’s drums whacked the offbeat, Claire Hamlin from the Alabama Slammers, her fingers pounding the keyboards, and John Spencely’s guitar starting to riff as the House Band kicked off ‘Tales From The Woods’ rock party at the ‘Inn On The Green’ in Portobello, W11. The beginning of a real night of fifties Rock’n'Roll with many singers sitting in throughout the evening including Cliff Edmunds (the Avengers), a perfect rendering of ‘Move It’ and ‘Brand New Cadillac’; Pete Stockton ‘Girl Of My Best Friend’; Dave Sampson (the Hunters) sang ‘Love Me’; Danny Rivers, ‘Can’t You Hear My Heart’ plus Ray Lee (Dream Lover) and of course Rockin' Gerry Champion of the 2i’s coffee bar, rocked ‘I Go Ape’. Everybody was here not only to celebrate Keith’s birthday but also to thank him for all his great efforts in keeping the faith and attracting musicians from that magic time, way back when I was really young and played or jived the night away in Soho town. We even had a Skiffle group and Allan Bailey, (Soho Leg-ends) sang ‘Rock Island Line’. A friend shouted in my ear that “No tea chest bass sounded as good as the ones made for PG Tips!” In fact Ken Major had brought his original one from back in 1956. -
Britten Spring Symphony Welcome Ode • Psalm 150
BRITTEN SPRING SYMPHONY WELCOME ODE • PSALM 150 Elizabeth Gale soprano London Symphony Chorus Alfreda Hodgson contralto Martyn Hill tenor London Symphony Orchestra Southend Boys’ Choir Richard Hickox Greg Barrett Richard Hickox (1948 – 2008) Benjamin Britten (1913 – 1976) Spring Symphony, Op. 44* 44:44 For Soprano, Alto and Tenor solos, Mixed Chorus, Boys’ Choir and Orchestra Part I 1 Introduction. Lento, senza rigore 10:03 2 The Merry Cuckoo. Vivace 1:57 3 Spring, the Sweet Spring. Allegro con slancio 1:47 4 The Driving Boy. Allegro molto 1:58 5 The Morning Star. Molto moderato ma giocoso 3:07 Part II 6 Welcome Maids of Honour. Allegretto rubato 2:38 7 Waters Above. Molto moderato e tranquillo 2:23 8 Out on the Lawn I lie in Bed. Adagio molto tranquillo 6:37 Part III 9 When will my May come. Allegro impetuoso 2:25 10 Fair and Fair. Allegretto grazioso 2:13 11 Sound the Flute. Allegretto molto mosso 1:24 Part IV 12 Finale. Moderato alla valse – Allegro pesante 7:56 3 Welcome Ode, Op. 95† 8:16 13 1 March. Broad and rhythmic (Maestoso) 1:52 14 2 Jig. Quick 1:20 15 3 Roundel. Slower 2:38 16 4 Modulation 0:39 17 5 Canon. Moving on 1:46 18 Psalm 150, Op. 67‡ 5:31 Kurt-Hans Goedicke, LSO timpani Lively March – Lightly – Very lively TT 58:48 4 Elizabeth Gale soprano* Alfreda Hodgson contralto* Martyn Hill tenor* The Southend Boys’ Choir* Michael Crabb director Senior Choirs of the City of London School for Girls† Maggie Donnelly director Senior Choirs of the City of London School† Anthony Gould director Junior Choirs of the City of London School -
Escape from Wonderland - a Novel Crystal Denise Pennymon University of Texas at El Paso, [email protected]
University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2018-01-01 Escape From Wonderland - A Novel Crystal Denise Pennymon University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Creative Writing Commons, and the Fine Arts Commons Recommended Citation Pennymon, Crystal Denise, "Escape From Wonderland - A Novel" (2018). Open Access Theses & Dissertations. 1511. https://digitalcommons.utep.edu/open_etd/1511 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. ESCAPE FROM WONDERLAND - A NOVEL - CRYSTAL DENISE PENNYMON Master’s Program in Creative Writing APPROVED: Tim Hernandez, M.F.A., Chair Elizabeth Sheid, M.F.A. Jose De Pierola, Ph.D. Charles Ambler, Ph.D. Dean of the Graduate School Dedication To my grandmother, Annie Lois Price Pennymon June 3, 1927 – October 29, 2015 To my aunt, Janice Maria Pennymon Morgan March 17, 1958 – September 3, 2016 To my baby brother, Jonathan Dennard Pennymon May 9, 1985 – July 13, 2017 ESCAPE FROM WONDERLAND -A NOVEL- by CRYSTAL DENISE PENNYMON, B.S. THESIS Presented to the Faculty of the Graduate School of Liberal Arts The University of Texas at El Paso in Partial Fulfillment of the Requirements for the Degree of MASTER OF FINE ARTS Department of Creative Writing THE UNIVERSITY OF TEXAS AT EL PASO May 2018 Acknowledgements In remembrance of my grandmother, Annie Lois Pennymon (1927-2015), who said that I told little lies all the way from Georgia to Kentucky while sitting on the arm rest of her Oldsmobile Toronado at 3-years-old. -
Marvin Gaye As Vocal Composer 63 Andrew Flory
Sounding Out Pop Analytical Essays in Popular Music Edited by Mark Spicer and John Covach The University of Michigan Press • Ann Arbor Copyright © by the University of Michigan 2010 All rights reserved Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid-free paper 2013 2012 2011 2010 4321 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, or otherwise, without the written permission of the publisher. A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Sounding out pop : analytical essays in popular music / edited by Mark Spicer and John Covach. p. cm. — (Tracking pop) Includes index. ISBN 978-0-472-11505-1 (cloth : alk. paper) — ISBN 978-0-472-03400-0 (pbk. : alk. paper) 1. Popular music—History and criticism. 2. Popular music— Analysis, appreciation. I. Spicer, Mark Stuart. II. Covach, John Rudolph. ML3470.S635 2010 781.64—dc22 2009050341 Contents Preface vii Acknowledgments xi 1 Leiber and Stoller, the Coasters, and the “Dramatic AABA” Form 1 john covach 2 “Only the Lonely” Roy Orbison’s Sweet West Texas Style 18 albin zak 3 Ego and Alter Ego Artistic Interaction between Bob Dylan and Roger McGuinn 42 james grier 4 Marvin Gaye as Vocal Composer 63 andrew flory 5 A Study of Maximally Smooth Voice Leading in the Mid-1970s Music of Genesis 99 kevin holm-hudson 6 “Reggatta de Blanc” Analyzing -
Getting Married Was Easy, but Staying Happy and in Love Year After Year, Baby After Baby, Is Much More Difficult
Welcome! Getting married was easy, but staying happy and in love year after year, baby after baby, is much more difficult. But the truth is, it doesn’t have to be. Being a mom in the modern world means that there’s more mental stress and less support for you than ever before. And that can be hard on your marriage. Without the right approach you will continue to have painful fights, frustration, and cold awkward silences. Who wants to live that way? Not to mention, your kids don’t want to see their parents live that way either. So, I’m going to just come straight out and explain the Adored for Life system so that you can inspire your husband to listen attentively to your heart and come through for you, again and again and again. In this Ignored to Adored Roadmap I will share with you what’s the real cause of marriage pain and outline the key steps to fixing it, so you’ll never have to experience the emotional exhaustion of fighting with your husband again. No more stonewalling, or having a moody, angry, or depressed husband all the time. And certainly no more “screaming matches” (which some “experts” like John Gottman think is perfectly normal). You won’t have to have emotionally exhausting conversations with your husband about the problems in your relationship or learn ineffective skills like rephrasing your grievances in an “I statement” instead of blaming your “partner.” Instead, this system will focus 100% on creating more of what you want in your relationship: feeling happier, getting more help, more affection & connection, and having a husband who can’t wait to make you happy. -
Dedicated 10 the Needs of the Music /Record Industry
DEDICATED 10 THE NEEDS OF THE MUSIC /RECORD INDUSTRY SINGLES SLEEPERS ALBUMS THE MIRACLES, "NIGHT LIFE" (prod. by Freddie THIN LIZZY, "THE BOYS ARE BACK IN TOWN" ROLLING STONES, "BLACK AND BLUE." Perren) (Jobete/Grimora, ASCAP). (prod. by John Alcock) (RSO, ASCAP). It's taken almost three years from start "Love Machine" was the group's big- t) One of 1976's brightest prospects is to finish with new friends and direc- .rnmu.rr/ gest across-the-board smash since this Anglo-American quartet that tions. The reggae influence is in full the departure of Smokey Robinson. has come into its own after several evidence ("Hot Stuff," "Cherry O Now they're about to do it all over overlooked outings. With a sound Baby"), along with some straightfor- again with more pulsating rhythms that could be compared to Bruce ward blues ("Melody") and some more and adventurous vocal lines. Instant Springsteen, Thin Lizzy is back in traditional sounding Stones ("Hand of pop/r&b play is assured. Tamla T town and should soon be making its Fate"). A bruiser of an album! Rolling 54268 (Motown). presence felt. Mercury 73786. Stones COC 79104 (Atlantic) (6.98). CAROLE KING, "HIGH OUT OF TIME" (prod. FOOLS GOLD, "RAIN, OH RAIN" (prod. by SEALS & CROFTS, "GET CLOSER." Their by Lou Adler) (Screen Gems -Colum- Glen Frey) (Frank Share/Big Shorty, Christmastime greatest hits package re- bia, ASCAP). An extravagant tapes- ASCAP). The group that recently minded everyone just what Seals & try of sound is woven by Ms. King served as back-up to Dan Fogelberg Crofts are capable of. -
Traditional Funk: an Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio
University of Dayton eCommons Honors Theses University Honors Program 4-26-2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Caleb G. Vanden Eynden University of Dayton Follow this and additional works at: https://ecommons.udayton.edu/uhp_theses eCommons Citation Vanden Eynden, Caleb G., "Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio" (2020). Honors Theses. 289. https://ecommons.udayton.edu/uhp_theses/289 This Honors Thesis is brought to you for free and open access by the University Honors Program at eCommons. It has been accepted for inclusion in Honors Theses by an authorized administrator of eCommons. For more information, please contact [email protected], [email protected]. Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Traditional Funk: An Ethnographic, Historical, and Practical Study of Funk Music in Dayton, Ohio Honors Thesis Caleb G. Vanden Eynden Department: Music Advisor: Samuel N. Dorf, Ph.D. April 2020 Abstract Recognized nationally as the funk capital of the world, Dayton, Ohio takes credit for birthing important funk groups (i.e. Ohio Players, Zapp, Heatwave, and Lakeside) during the 1970s and 80s. Through a combination of ethnographic and archival research, this paper offers a pedagogical approach to Dayton funk, rooted in the styles and works of the city’s funk legacy. Drawing from fieldwork with Dayton funk musicians completed over the summer of 2019 and pedagogical theories of including black music in the school curriculum, this paper presents a pedagogical model for funk instruction that introduces the ingredients of funk (instrumentation, form, groove, and vocals) in order to enable secondary school music programs to create their own funk rooted in local history. -
Jazz Quartess Songlist Pop, Motown & Blues
JAZZ QUARTESS SONGLIST POP, MOTOWN & BLUES One Hundred Years A Thousand Years Overjoyed Ain't No Mountain High Enough Runaround Ain’t That Peculiar Same Old Song Ain’t Too Proud To Beg Sexual Healing B.B. King Medley Signed, Sealed, Delivered Boogie On Reggae Woman Soul Man Build Me Up Buttercup Stop In The Name Of Love Chasing Cars Stormy Monday Clocks Summer In The City Could It Be I’m Fallin’ In Love? Superstition Cruisin’ Sweet Home Chicago Dancing In The Streets Tears Of A Clown Everlasting Love (This Will Be) Time After Time Get Ready Saturday in the Park Gimme One Reason Signed, Sealed, Delivered Green Onions The Scientist Groovin' Up On The Roof Heard It Through The Grapevine Under The Boardwalk Hey, Bartender The Way You Do The Things You Do Hold On, I'm Coming Viva La Vida How Sweet It Is Waste Hungry Like the Wolf What's Going On? Count on Me When Love Comes To Town Dancing in the Moonlight Workin’ My Way Back To You Every Breath You Take You’re All I Need . Every Little Thing She Does Is Magic You’ve Got a Friend Everything Fire and Rain CONTEMPORARY BALLADS Get Lucky A Simple Song Hey, Soul Sister After All How Sweet It Is All I Do Human Nature All My Life I Believe All In Love Is Fair I Can’t Help It All The Man I Need I Can't Help Myself Always & Forever I Feel Good Amazed I Was Made To Love Her And I Love Her I Saw Her Standing There Baby, Come To Me I Wish Back To One If I Ain’t Got You Beautiful In My Eyes If You Really Love Me Beauty And The Beast I’ll Be Around Because You Love Me I’ll Take You There Betcha By Golly -
“Rapper's Delight”
1 “Rapper’s Delight” From Genre-less to New Genre I was approached in ’77. A gentleman walked up to me and said, “We can put what you’re doing on a record.” I would have to admit that I was blind. I didn’t think that somebody else would want to hear a record re-recorded onto another record with talking on it. I didn’t think it would reach the masses like that. I didn’t see it. I knew of all the crews that had any sort of juice and power, or that was drawing crowds. So here it is two years later and I hear, “To the hip-hop, to the bang to the boogie,” and it’s not Bam, Herc, Breakout, AJ. Who is this?1 DJ Grandmaster Flash I did not think it was conceivable that there would be such thing as a hip-hop record. I could not see it. I’m like, record? Fuck, how you gon’ put hip-hop onto a record? ’Cause it was a whole gig, you know? How you gon’ put three hours on a record? Bam! They made “Rapper’s Delight.” And the ironic twist is not how long that record was, but how short it was. I’m thinking, “Man, they cut that shit down to fifteen minutes?” It was a miracle.2 MC Chuck D [“Rapper’s Delight”] is a disco record with rapping on it. So we could do that. We were trying to make a buck.3 Richard Taninbaum (percussion) As early as May of 1979, Billboard magazine noted the growing popularity of “rapping DJs” performing live for clubgoers at New York City’s black discos.4 But it was not until September of the same year that the trend gar- nered widespread attention, with the release of the Sugarhill Gang’s “Rapper’s Delight,” a fifteen-minute track powered by humorous party rhymes and a relentlessly funky bass line that took the country by storm and introduced a national audience to rap. -
Why Hip Hop Began in the Bronx- Lecture for C-Span
Fordham University DigitalResearch@Fordham Occasional Essays Bronx African American History Project 10-28-2019 Why Hip Hop Began in the Bronx- Lecture for C-Span Mark Naison Follow this and additional works at: https://fordham.bepress.com/baahp_essays Part of the African American Studies Commons, American Popular Culture Commons, Cultural History Commons, and the Ethnomusicology Commons Why Hip Hop Began in the Bronx- My Lecture for C-Span What I am about to describe to you is one of the most improbable and inspiring stories you will ever hear. It is about how young people in a section of New York widely regarded as a site of unspeakable violence and tragedy created an art form that would sweep the world. It is a story filled with ironies, unexplored connections and lessons for today. And I am proud to share it not only with my wonderful Rock and Roll to Hip Hop class but with C-Span’s global audience through its lectures in American history series. Before going into the substance of my lecture, which explores some features of Bronx history which many people might not be familiar with, I want to explain what definition of Hip Hop that I will be using in this talk. Some people think of Hip Hop exclusively as “rap music,” an art form taken to it’s highest form by people like Tupac Shakur, Missy Elliot, JZ, Nas, Kendrick Lamar, Wu Tang Clan and other masters of that verbal and musical art, but I am thinking of it as a multilayered arts movement of which rapping is only one component.