Appendix 2: Popular Music Timeline

Total Page:16

File Type:pdf, Size:1020Kb

Appendix 2: Popular Music Timeline Appendix 2: Popular music timeline The following key events and developments are a selection of milestones in popular music, in terms of music, economics, technology, and symbolic impor- tance, or some combination of these. I concentrate on developments since the advent of recorded sound. Obviously, there are some ‘judgement calls’ here and readers can no doubt construct alternative chronologies. There are numerous such timelines on the web, variously constructed around performers, genres, and recordings. 1877 Thomas Edison patents the ‘Phonograph’, a sound system based around a tin foil cylinder. 1884 Emile Berliner records ‘The Lord’s Prayer’ on a cylinder; now in the BBC Sound Archive, it is believed to be the world’s oldest surviving record. 1887 Thomas Edison’s first public demonstration of his phonograph, a talking machine, marks the beginning of recorded sound. Emile Berliner invents the flat recording disc. 1892 ‘After The Ball’, the first sheet music mega hit (Tin Pan Alley). 1896 Edison and Columbia introduce the first phonograph (later known as the gramophone) to the home market. 1899 Scott Joplin’s ‘Maple Leaf Rag’ becomes a best seller, and consolidates the Ragtime craze. HMV buy the picture of a dog named Nipper, which becomes central to the iconic company logo. 1900 The Gramophone Company produces a catalogue with some 5,000 recordings. 1909 US Copyright Act (amendment) establishes the basis for royalty payments for recorded music, turning the popular song into a marketable commodity. 1912 W. C. Handy publishes ‘Memphis Blues’, the first blues to appear in print. 1913 The word ‘jazz’ appears in print for the first time. 282 Appendix 2: Popular music timeline 1914 American Society of Composers, Authors and Publishers (ASCAP) is formed, enabling songwriters to claim the income due under the Copyright Act. 1917 First recorded jazz, by Original Dixieland Jazz band; in 1919 they create a sensation in London. Death of Scott Joplin regarded as marking the end of the Ragtime era. 1920 First recording of vocal blues by a black singer, Mamie Smith’s ‘Crazy Blues’. 1923 The first news-and-music US radio station, Westinghouse’s KDKA, established in 1920, begins broadcasting in shortwave. Classical music oriented The Gramophone (UK) launched; helps shape ‘gramophone culture’. 1924 George Gershwin composes ‘Rhapsody in Blue’. 1925 Regular use begins of electrical recording (using microphones). 1926 BBC is created as a public corporation; its Music Department is set up the following year. The birth of the LP: Edison produces Diamond Discs, capable of playing 20 minutes per side. 1927 The Carter Family record their first record; these Bristol Sessions are seen as the origins of modern ‘country’ music. 1929 ‘The Broadway Melody’: the first ‘all-talking, all-singing, all-dancing’ film musical. 1931 The Gramophone Company and Columbia merge to form EMI – a trend toward consolidation that is to become a feature of the music industry. 1934 Jazz journal Downbeat launched in Chicago. 1936 Key recordings of Robert Johnson (Delta blues). [Reissued as a box set in 1990.] Charles Delaunay’s Hot Discography published in English, establishing field of ‘discography’. 1939 Broadcast Music Incorporated (BMI) is formed to represent the blues and country music largely ignored by its competitor, ASCAP. 1942 Billboard sets up a ‘race’ chart: the Harlem Hit Parade. 1947 Formation of Chess Records in Chicago: central to the development of R&B and Chicago blues. 1948 CBS release the first modern long-playing vinyl records; they play at 33 rpm and need a special player. 1949 Billboard ends ‘race’ chart category; replaced by rhythm ‘n’ blues. 1951 Jackie Brenston and Ike Turner release ‘Rocket 88’, often considered the first rock ‘n’ roll recording. 1952 DJ Alan Freed names his radio show ‘Moondog’s Rock ‘n’ Roll Party’. American Bandstand first broadcast in the US. Appendix 2: Popular music timeline 283 Harry Smith releases Anthology of American Folk Music, a major influence on the folk revival. 1953 Bill Haley and his Comets release ‘Crazy Man Crazy’, the first rock ‘n’ roll record to make the Billboard charts. 1954 Elvis Presley records ‘That’s All Right Mama’ at Sun Studios in Memphis. 1955 Little Richard’s ‘Tutti Frutti’ and Chuck Berry’s ‘Maybelline’: key rock ‘n’ roll recordings. Bill Haley and his Comets’‘Rock Around the Clock’ is performed in the film The Blackboard Jungle. Miles Davis’s Quartet, featuring tenor saxophonist John Coltrane, first record. 1956 Fats Domino’s ‘Blueberry Hill’ demonstrates the crossover potential of R&B. Elvis Presley’s ‘Heartbreak Hotel’ is no. 1 for eight weeks in US; reaches no. 2 in the UK. Lonnie Donegan releases ‘Rock Island Line’, popularizing skiffle in the UK. 1957 American Bandstand is broadcast nationally in the US. 1958 First stereo recordings released. 1959 Buddy Holly, Ritchie Valens, and the Big Bopper are killed in an air crash. Juke Box Jury begins on BBC TV: celebrities vote on whether a single will be a ‘hit’ or a ‘miss’. Formation of Stax Records. Miles Davis releases Kind of Blue. 1960 US Congressional investigation into payola begins. Studios begin using multitrack recorders. 1961 The Miracles release ‘Shop Around’, the first hit for Tamla Motown. 1962 The Beatles release ‘Love Me Do’ and later their first LP, Please Please Me. Bob Dylan releases his first album, the self-titled Bob Dylan. Gerry and the Pacemakers’‘How Do You Do It?’ is no. 1 in the UK (Merseybeat). James Brown releases Live At The Apollo, the first million-selling R&B album. 1963 Ready Steady Go! begins broadcasting on Independent Television (ITV). Introduction of the compact tape cassette. 1964 The Beatles appear on the Ed Sullivan Show. 284 Appendix 2: Popular music timeline The Beatles play New York’s Shea Stadium (attendance: 55,600, then a world record). The pirate stations Radio London and Radio Caroline begin broadcasting in the English Channel. The first edition of BBC’s Top of the Pops is broadcast. Robert Moog markets his synthesizer. 1965 Otis Redding’s Otis Blue album is released. Bob Dylan is booed (by some of the audience) at the Newport Folk Festival for ‘going electric’; releases epic single ‘Like A Rolling Stone’. The Beatles play their last ever tour concert, at Candlestick Park, San Francisco. The Rolling Stones release ‘(I Can’t Get No) Satisfaction’: includes rock’s most famous riff. James Brown’s ‘Papa’s Got a Brand New Bag’. 1966 The Monkees television show (and the group) debut in the US; in the UK in 1967. First Grammy Award for best album cover; won by the Beatles’ Revolver (artwork by Klaus Voormann). 1967 The Beatles, Sgt. Pepper’s Lonely Hearts Club Band; The Beach Boys, Pet Sounds. Monterey International Pop Festival (performers include, among others, Jefferson Airplane, Janis Joplin, Ravi Shankar, Otis Redding, and Jimi Hendrix) is attended by 30,000 fans. Rolling Stone magazine is launched; Downbeat extends its coverage to rock music. BBC’s Radio 1 begins broadcasting, replacing the now illegal pirate stations. The Velvet Underground’s debut album, The Velvet Underground and Nico. Hair opens; widely seen as the first ‘rock musical’. 1969 Led Zeppelin release their first album: Led Zeppelin. The Who release their rock opera: Tommy. The Woodstock Festival attracts 400,000 fans; musicians include Jimi Hendrix, the Who, Santana. The Altamont, California free festival, organized by the Rolling Stones; Hells Angels attack and kill a member of the audience. The Archies, ‘Sugar, Sugar’, by a manufactured ‘bubblegum’ group, is the biggest selling single of the year. 1970 Jimi Hendrix and Janis Joplin die; the Beatles disband. Appendix 2: Popular music timeline 285 Soul Train begins on US television; syndication rights are bought by CBS TV in 1973. Black Sabbath’s albums Black Sabbath and Paronoid: seen as birth of Heavy Metal. 1971 The Old Grey Whistle Test starts on BBC2, with bands performing live. The Canadian government implements ‘Canadian Content’ regulations, which require that radio station playlists contain specified minimum amounts of Canadian music; this provides a model for similar quota policies elsewhere. Marvin Gaye, What’s Goin’ On. King Tubby and Lee Perry create dub, the template for much modern dance music. 1972 Nuggets, compiled by Lenny Kaye, creates new interest in 1960s’ garage bands and influences punk rock. David Bowie creates Ziggy Stardust, launches glam rock. The Harder They Come (feature film) brings Jamaican reggae to a wider audience. 1973 Pink Floyd’s album Dark Side of the Moon enters US charts, beginning a record-breaking stay. 1975 Bruce Springsteen releases album Born to Run; it establishes ‘The Boss’ as a rock superstar. Bob Marley and the Wailers first hit single ‘No Woman, No Cry’; Marley becomes the first international reggae star. 1976 The Ramones release Ramones, epitomizing much of New York punk rock. Sex Pistols release ‘Anarchy in the UK’; create controversy; regarded as part of the punk canon. The launch of the 12-inch single, a format that underpins house, hip hop, and techno. 1977 Elvis Presley dies aged 42. Kraftwerk release Trans Europe Express:influences hip hop and dance culture. Saturday Night Fever: the Bee Gees and John Travolta bring disco into the mainstream. 1978 Contemporary Christian Music (later CCM) begins publication; gives its name to the genre. 1979 Introduction of the SONY Walkman. Bauhaus, ‘Bela Lugosi’s Dead’: credited with establishing goth in the UK. 1980 John Lennon is murdered in New York. 286 Appendix 2: Popular music timeline Monsters of Rock, Castle Donington (UK): the first exclusively heavy metal festival. 1981 MTV is launched in the US, later franchised globally; popularizes music video. Establishment of IASPM (The International Association for the Study of Popular Music). Death of Bob Marley.
Recommended publications
  • Round the World of Sound Moondog Madrigals
    MUZZIX et DEDALUS present Round the World of Sound Moondog Madrigals >> www.muzzix.info/Round-the-World-of-Sound << Collectif Muzzix – jazz, musiques improvisées et expérimentales 51 rue Marcel Hénaux – 59000 LILLE +33(0)9 50 91 01 72 www.muzzix.info DISTRIBUTION Guitar and artistic direction : Didier Aschour Trumpet and co-direction : Christian Pruvost Percussions : Stéphane Garin Drums : Peter Orins Voice : Vincent Bouchot Nathalie Duong Keyboard : Barbara Dang Double Bass : Nicolas Mahieux Guitar : Sébastien Beaumont Piano : Denis Chouillet Saxophones : Sakina Abdou Julien Favreuille Bass Trombone : Thierry Madiot Cello : Déborah Walker PROGRAMME Moondog (Louis-Thomas Hardin) – Round the World of Sound Invocation (instrumental) Round the World of Sound 1 > Madrigaux 1-5 (Bells are Ringing ; Voices of spring ; What´s the Most Exciting Thing ; All is loneliness ; My tiny butterfly) Stamping Ground (instrumental) Round the World of Sound 2 > Madrigaux 6-10 (Why spend a dark night with you ? ; Coffee Beans ; Down is up ; Be a hobo ; Remember, remember) Witch of Endor (instrumental) Round the World of Sound 3 > Madrigaux 11-15 (I love you ; Nero´s Expedition ; No, the wheel was never invented ; With my wealth ; This student of life) Theme (instrumental) Round the World of Sound 4 > Madrigaux 16-20 (Some trust all ; Wine, women and song ; Sadness ; Maybe ; Each today) Bird’s Lament (instrumental) Round the World of Sound 5 > Madrigaux 21-25 (Imagine ; You, the Vandal ; Trees against the sky ; Behold ; Sparrows) Heimdall Fanfare (instrumental) Collectif Muzzix – jazz, musiques improvisées et expérimentales 51 rue Marcel Hénaux – 59000 LILLE +33(0)9 50 91 01 72 www.muzzix.info © Christian Mathieu Collectif Muzzix – jazz, musiques improvisées et expérimentales 51 rue Marcel Hénaux – 59000 LILLE +33(0)9 50 91 01 72 www.muzzix.info ROUND THE WORLD OF SOUNDS RTWOS is a cycle of 25 madrigals that covers the main aspects of Moondog’s music : indian percussions (Snake Rythm), canonical form, jazz harmony.
    [Show full text]
  • Letter Reso 1..4
    *LRB09613384KXB28107r* HR0544 LRB096 13384 KXB 28107 r 1 HOUSE RESOLUTION 2 WHEREAS, The members of the Illinois House of 3 Representatives and State Representative Monique D. Davis are 4 saddened to learn of the death of Michael Jackson, who passed 5 away on June 25, 2009; and 6 WHEREAS, Michael Joseph Jackson was born on August 29, 1958 7 in Gary, Indiana to Joseph and Katherine Jackson; at the age of 8 4, he began singing with his brothers, Marlon, Jermaine, 9 Jackie, and Tito, as the Jackson 5; and 10 WHEREAS, By 1968, the Jacksons had cut singles for a local 11 Indiana label called Steeltown; at an engagement that year at 12 Harlem's famed Apollo Theater, singer Gladys Knight and pianist 13 Billy Taylor saw their act and recommended them to Motown 14 founder Berry Gordy; and 15 WHEREAS, Motown moved the Jacksons to California, and in 16 August 1968 they gave a breakthrough performance at a Beverly 17 Hills club called The Daisy; their first album, "Diana Ross 18 Presents the Jackson 5," was released in December 1969, and it 19 yielded the No. 1 hit "I Want You Back," with 11-year-old 20 Michael on the lead vocals; "ABC," "I’ll Be There," and other 21 hits followed, and the group soon had their own television 22 series, a Saturday morning cartoon, and an array of licensed -2-HR0544LRB096 13384 KXB 28107 r 1 merchandise aimed at youngsters; and 2 WHEREAS, By 1972, Michael Jackson had his first solo album, 3 "Got to Be There," which included the title hit as well as 4 "Rockin' Robin"; his first solo No.
    [Show full text]
  • In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence
    In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence THESIS Presented in Partial Fulfillment of the Requirements for the Master of Arts Degree in the Graduate School of The Ohio State University By Crystal Joesell Radford, BA Graduate Program in Education The Ohio State University 2011 Thesis Committee: Professor Beverly Gordon, Advisor Professor Adrienne Dixson Copyrighted by Crystal Joesell Radford 2011 Abstract This study critically analyzes rap through an interdisciplinary framework. The study explains rap‟s socio-cultural history and it examines the multi-generational, classed, racialized, and gendered identities in rap. Rap music grew out of hip-hop culture, which has – in part – earned it a garnering of criticism of being too “violent,” “sexist,” and “noisy.” This criticism became especially pronounced with the emergence of the rap subgenre dubbed “gangsta rap” in the 1990s, which is particularly known for its sexist and violent content. Rap music, which captures the spirit of hip-hop culture, evolved in American inner cities in the early 1970s in the South Bronx at the wake of the Civil Rights, Black Nationalist, and Women‟s Liberation movements during a new technological revolution. During the 1970s and 80s, a series of sociopolitical conscious raps were launched, as young people of color found a cathartic means of expression by which to describe the conditions of the inner-city – a space largely constructed by those in power. Rap thrived under poverty, police repression, social policy, class, and gender relations (Baker, 1993; Boyd, 1997; Keyes, 2000, 2002; Perkins, 1996; Potter, 1995; Rose, 1994, 2008; Watkins, 1998).
    [Show full text]
  • Queen of the Blues © Photos AP/Wideworld 46 D INAHJ ULY 2001W EASHINGTONNGLISH T EACHING F ORUM 03-0105 ETF 46 56 2/13/03 2:15 PM Page 47
    03-0105_ETF_46_56 2/13/03 2:15 PM Page 46 J Queen of the Blues © Photos AP/WideWorld 46 D INAHJ ULY 2001W EASHINGTONNGLISH T EACHING F ORUM 03-0105_ETF_46_56 2/13/03 2:15 PM Page 47 thethe by Kent S. Markle RedRed HotHot BluesBlues AZZ MUSIC HAS OFTEN BEEN CALLED THE ONLY ART FORM J to originate in the United States, yet blues music arose right beside jazz. In fact, the two styles have many parallels. Both were created by African- Americans in the southern United States in the latter part of the 19th century and spread from there in the early decades of the 20th century; both contain the sad sounding “blue note,” which is the bending of a particular note a quar- ter or half tone; and both feature syncopation and improvisation. Blues and jazz have had huge influences on American popular music. In fact, many key elements we hear in pop, soul, rhythm and blues, and rock and roll (opposite) Dinah Washington have their beginnings in blues music. A careful study of the blues can contribute © AP/WideWorld Photos to a greater understanding of these other musical genres. Though never the Born in 1924 as Ruth Lee Jones, she took the stage name Dinah Washington and was later known leader in music sales, blues music has retained a significant presence, not only in as the “Queen of the Blues.” She began with singing gospel music concerts and festivals throughout the United States but also in our daily lives. in Chicago and was later famous for her ability to sing any style Nowadays, we can hear the sound of the blues in unexpected places, from the music with a brilliant sense of tim- ing and drama and perfect enun- warm warble of an amplified harmonica on a television commercial to the sad ciation.
    [Show full text]
  • Memphis Jug Baimi
    94, Puller Road, B L U E S Barnet, Herts., EN5 4HD, ~ L I N K U.K. Subscriptions £1.50 for six ( 54 sea mail, 58 air mail). Overseas International Money Orders only please or if by personal cheque please add an extra 50p to cover bank clearance charges. Editorial staff: Mike Black, John Stiff. Frank Sidebottom and Alan Balfour. Issue 2 — October/November 1973. Particular thanks to Valerie Wilmer (photos) and Dave Godby (special artwork). National Giro— 32 733 4002 Cover Photo> Memphis Minnie ( ^ ) Blues-Link 1973 editorial In this short editorial all I have space to mention is that we now have a Giro account and overseas readers may find it easier and cheaper to subscribe this way. Apologies to Kees van Wijngaarden whose name we left off “ The Dutch Blues Scene” in No. 1—red faces all round! Those of you who are still waiting for replies to letters — bear with us as yours truly (Mike) has had a spell in hospital and it’s taking time to get the backlog down. Next issue will be a bumper one for Christmas. CONTENTS PAGE Memphis Shakedown — Chris Smith 4 Leicester Blues Em pire — John Stretton & Bob Fisher 20 Obscure LP’ s— Frank Sidebottom 41 Kokomo Arnold — Leon Terjanian 27 Ragtime In The British Museum — Roger Millington 33 Memphis Minnie Dies in Memphis — Steve LaVere 31 Talkabout — Bob Groom 19 Sidetrackin’ — Frank Sidebottom 26 Book Review 40 Record Reviews 39 Contact Ads 42 £ Memphis Shakedown- The Memphis Jug Band On Record by Chris Smith Much has been written about the members of the Memphis Jug Band, notably by Bengt Olsson in Memphis Blues (Studio Vista 1970); surprisingly little, however has got into print about the music that the band played, beyond general outline.
    [Show full text]
  • Post-World War II Jazz in Britain: Venues and Values 19451970
    University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Society and Culture Post-World War II Jazz in Britain: Venues and Values 19451970 Williams, KA http://hdl.handle.net/10026.1/4429 10.1558/jazz.v7i1.113 Jazz Research Journal Equinox Publishing All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. [JRJ 7.1 (2013) 113-131] (print) ISSN 1753-8637 doi:10.1558/jazz.v7i1.113 (online) ISSN 1753-8645 Post-World War II Jazz in Britain: Venues and Values 1945–1970 Katherine Williams Department of Music, Plymouth University [email protected] Abstract This article explores the ways in which jazz was presented and mediated through venue in post-World War II London. During this period, jazz was presented in a variety of ways in different venues, on four of which I focus: New Orleans-style jazz commonly performed for the same audiences in Rhythm Clubs and in concert halls (as shown by George Webb’s Dixielanders at the Red Barn public house and the King’s Hall); clubs hosting different styles of jazz on different nights of the week that brought in different audiences (such as the 100 Club on Oxford Street); clubs with a fixed stylistic ideology that changed venue, taking a regular fan base and musicians to different locations (such as Ronnie Scott’s Jazz Club); and jazz in theatres (such as the Little Theatre Club and Mike West- brook’s compositions for performance in the Mermaid Theatre).
    [Show full text]
  • The Moral Priorities of Rap Listeners
    Published: Nzinga, K.L.K., & Medin, D.L. (2018). The Moral Priorities of Rap Listeners. Journal of Cognition and Culture, 312-342. http://booKsandjournals.brillonline.com/content/journals/10.1163/15685373-12340033 The Moral Priorities of Rap Listeners Kalonji L.K. NZINGA Douglas L. MEDIN Northwestern University A Cross-cultural approach to moral psychology starts from researchers withholding judgments about universal right and wrong and instead exploring community members’ values and what they subjeCtively perCeive to be moral or immoral in their loCal Context. This study seeks to identify the moral ConCerns that are most relevant to listeners of hip- hop music. We use validated psyChologiCal surveys inCluding the Moral Foundations Questionnaire (Graham, Haidt, & Nosek 2009) to assess whiCh moral ConCerns are most central to hip-hop listeners. Results show that hip-hop listeners prioritize concerns of justiCe and authentiCity more than non-listeners and deprioritize ConCerns about respeCting authority. These results show that the ConCept of the “good person” within the hip-hop subculture is fundamentally a person that is oriented towards soCial justiCe, rebellion against the status quo, and a deep devotion to keeping it real. Results are followed by a disCussion of the role that youth subCultures have in soCializing young people to prioritize Certain virtues over others as they develop their moral identity. 1. Introduction Many AmeriCan rappers inCluding KendriCk Lamar (2010), Snoop Dogg (2015), and Busta Rhymes (2006) have delivered the following CatCh phrase in their lyriCs: “You Can take me out the hood, but you Can’t take the hood out of me.” They proClaim that there are Certain aspeCts of the “hood” lifestyle and value system that, onCe they are part of you, direCt how you perCeive the world and behave in it.
    [Show full text]
  • GCHC NEWSLETTER FEBRUARY 2017.Pdf
    Issue 2 Volume 3 Grimes County Historical Commission February 2017 Meetings of the Grimes County Historical Commission are held on the Second Monday of the Month at 7:00 pm in the Courthouse Annex in Anderson, Texas Contact Information Joe King Fultz [email protected] Visit us on Facebook https://www.facebook.com/Grim esCountyHistoricalCommission Grimes County Historical Commission Executive Board Photo of the Month Chairman Joe King Fultz Vice Chairman Vacant Secretary Vanessa Burzynski Treasurer Joe King Fultz COMMITTEES Historical Markers Denise Upchurch Historic Preservation Sarah Nash Newsletter & Publicity Vanessa Burzynski W. W. Meachum Law Office Anderson, Texas GRIMES COUNTY HISTORICAL COMMISSION NEWSLETTER FEBRUARY 2017 PAGE 2 History of the Town of Richards Richards is located on the Allen Vince one-half league RICHARDS, TEXAS. Richards is on Farm roads 1486 survey which the Mexican government granted him and 149 and the Burlington-Rock Island line in east on May 30, 1831. Vince, with his three brothers, central Grimes County. It was founded in 1907, when came to Texas in 1822 and settled on Sims Bayou in the residents of several communities in the vicinity present Harris County. His brothers settled along of Lake Creek moved to a newly constructed line of Vince’s Bayou and it was formerly thought the bridge the Trinity and Brazos Valley Railway where it across the Bayou was the one Sam Houston ordered crossed the road between Fairview (or Dolph) and destroyed before the Battle of San Jacinto, but today Longstreet. The area had been settled by Anglo- it has been proved to be the bridge over Sim’s Bayou American immigrants in the early 1830s, but no that had been built by Allen Vince.
    [Show full text]
  • Varsity Jazz
    Varsity Jazz Jazz at Reading University 1951 - 1984 By Trevor Bannister 1 VARSITY JAZZ Jazz at Reading University 1951 represented an important year for Reading University and for Reading’s local jazz scene. The appearance of Humphrey Lyttelton’s Band at the University Rag Ball, held at the Town Hall on 28th February, marked the first time a true product of the Revivalist jazz movement had played in the town. That it should be the Lyttelton band, Britain’s pre-eminent group of the time, led by the ex-Etonian and Grenadier Guardsman, Humphrey Lyttelton, made the event doubly important. Barely three days later, on 3rd March, the University Rag Committee presented a second event at the Town Hall. The Jazz Jamboree featured the Magnolia Jazz Band led by another trumpeter fast making a name for himself, the colourful Mick Mulligan. It would be the first of his many visits to Reading. Denny Dyson provided the vocals and the Yew Tree Jazz Band were on hand for interval support. There is no further mention of jazz activity at the university in the pages of the Reading Standard until 1956, when the clarinettist Sid Phillips led his acclaimed touring and broadcasting band on stage at the Town Hall for the Rag Ball on 25th February, supported by Len Lacy and His Sweet Band. Considering the intense animosity between the respective followers of traditional and modern jazz, which sometimes reached venomous extremes, the Rag Committee took a brave decision in 1958 to book exponents of the opposing schools. The Rag Ball at the Olympia Ballroom on 20th February, saw Ken Colyer’s Jazz Band, which followed the zealous path of its leader in keeping rigidly to the disciplines of New Orleans jazz, sharing the stage with the much cooler and sophisticated sounds of a quartet led by Tommy Whittle, a tenor saxophonist noted for his work with the Ted Heath Orchestra.
    [Show full text]
  • Track 1 Juke Box Jury
    CD1: 1959-1965 CD4: 1971-1977 Track 1 Juke Box Jury Tracks 1-6 Mary, Queen Of Scots Track 2 Beat Girl Track 7 The Persuaders Track 3 Never Let Go Track 8 They Might Be Giants Track 4 Beat for Beatniks Track 9 Alice’s Adventures In Wonderland Track 5 The Girl With The Sun In Her Hair Tracks 10-11 The Man With The Golden Gun Track 6 Dr. No Track 12 The Dove Track 7 From Russia With Love Track 13 The Tamarind Seed Tracks 8-9 Goldfinger Track 14 Love Among The Ruins Tracks 10-17 Zulu Tracks 15-19 Robin And Marian Track 18 Séance On A Wet Afternoon Track 20 King Kong Tracks 19-20 Thunderball Track 21 Eleanor And Franklin Track 21 The Ipcress File Track 22 The Deep Track 22 The Knack... And How To Get It CD5: 1978-1983 CD2: 1965-1969 Track 1 The Betsy Track 1 King Rat Tracks 2-3 Moonraker Track 2 Mister Moses Track 4 The Black Hole Track 3 Born Free Track 5 Hanover Street Track 4 The Wrong Box Track 6 The Corn Is Green Track 5 The Chase Tracks 7-12 Raise The Titanic Track 6 The Quiller Memorandum Track 13 Somewhere In Time Track 7-8 You Only Live Twice Track 14 Body Heat Tracks 9-14 The Lion In Winter Track 15 Frances Track 15 Deadfall Track 16 Hammett Tracks 16-17 On Her Majesty’s Secret Service Tracks 17-18 Octopussy CD3: 1969-1971 CD6: 1983-2001 Track 1 Midnight Cowboy Track 1 High Road To China Track 2 The Appointment Track 2 The Cotton Club Tracks 3-9 The Last Valley Track 3 Until September Track 10 Monte Walsh Track 4 A View To A Kill Tracks 11-12 Diamonds Are Forever Track 5 Out Of Africa Tracks 13-21 Walkabout Track 6 My Sister’s Keeper
    [Show full text]
  • Bowlography of Rock and Pop Concerts
    BOWLOGRAPHY OF ROCK AND POP CONCERTS 1979 DESMOND DECKER with Geno Washington, Sat 8th September 1980 POLICE with Squeeze, UB40, Skatfish, Sector 27, Sat 26th July 1981 THIN LIZZY with Judie Tzuke, The Ian Hunter Band, Q Tips, Trimmer and Jenkins,Sat 8th August 1982 QUEEN, with Heart, Teardrop Explodes, Joan Jett and the Blackhearts, Sat 5th June GENESIS, with Talk Talk, The Blues Band, John Martyn, Sat 2nd October 1983 DAVID BOWIE, with The Beat and Icehouse Fri 1st, Sat 2nd, Sun 3rd July 1984 STATUS QUO with Marillion, Nazareth, Gary Glitter, Jason and the Scorchers, Sat 21st July 1985 U2 with REM, The Ramones, Billy Bragg, Spear Of Destiny, The Men They Couldn’t Hang, Faith Brothers, Sat 22nd June 1986 SIMPLE MINDS with The Bangles, The Cult, Lloyd Cole and The Commotions, Big Audio Dynamite, The Waterboys, In Tua Nua, Dr and The Medics, Sat 21st June MARILLION with special guests, Gary Moore, Jethro Tull, Magnum, Mamas Boys, Sat 28th June 1988 Amnesty International event with Stranglers, Aswad, The Damned, Howard Jones, Joe Strummer, Aztec Camera, B.A.D, Sat 18th, Sun 19th June MICHAEL JACKSON, with Kim Wilde, Sat 10th September 1989 BON JOVI with Europe, Vixen and Skid Row, Sat 19th August 1990 DAVID BOWIE, with Gene Loves Jezebel, The Men They Couldn’t Hang, Two Way Street, Sat 4th, Sun 5th August ERASURE, with Adamski, Sat 1st September 1991 ZZ TOP with Bryan Adams, Liitle Angels, The Firm, Thunder Sat 6th July SIMPLE MINDS, with Stranglers, OMD Sat 21st August 1993 BRUCE SPRINGSTEEN, Sat 23rd May GUNS 'n’ ROSES, The Cult, Soul
    [Show full text]
  • 1715 Total Tracks Length: 87:21:49 Total Tracks Size: 10.8 GB
    Total tracks number: 1715 Total tracks length: 87:21:49 Total tracks size: 10.8 GB # Artist Title Length 01 Adam Brand Good Friends 03:38 02 Adam Harvey God Made Beer 03:46 03 Al Dexter Guitar Polka 02:42 04 Al Dexter I'm Losing My Mind Over You 02:46 05 Al Dexter & His Troopers Pistol Packin' Mama 02:45 06 Alabama Dixie Land Delight 05:17 07 Alabama Down Home 03:23 08 Alabama Feels So Right 03:34 09 Alabama For The Record - Why Lady Why 04:06 10 Alabama Forever's As Far As I'll Go 03:29 11 Alabama Forty Hour Week 03:18 12 Alabama Happy Birthday Jesus 03:04 13 Alabama High Cotton 02:58 14 Alabama If You're Gonna Play In Texas 03:19 15 Alabama I'm In A Hurry 02:47 16 Alabama Love In the First Degree 03:13 17 Alabama Mountain Music 03:59 18 Alabama My Home's In Alabama 04:17 19 Alabama Old Flame 03:00 20 Alabama Tennessee River 02:58 21 Alabama The Closer You Get 03:30 22 Alan Jackson Between The Devil And Me 03:17 23 Alan Jackson Don't Rock The Jukebox 02:49 24 Alan Jackson Drive - 07 - Designated Drinke 03:48 25 Alan Jackson Drive 04:00 26 Alan Jackson Gone Country 04:11 27 Alan Jackson Here in the Real World 03:35 28 Alan Jackson I'd Love You All Over Again 03:08 29 Alan Jackson I'll Try 03:04 30 Alan Jackson Little Bitty 02:35 31 Alan Jackson She's Got The Rhythm (And I Go 02:22 32 Alan Jackson Tall Tall Trees 02:28 33 Alan Jackson That'd Be Alright 03:36 34 Allan Jackson Whos Cheatin Who 04:52 35 Alvie Self Rain Dance 01:51 36 Amber Lawrence Good Girls 03:17 37 Amos Morris Home 03:40 38 Anne Kirkpatrick Travellin' Still, Always Will 03:28 39 Anne Murray Could I Have This Dance 03:11 40 Anne Murray He Thinks I Still Care 02:49 41 Anne Murray There Goes My Everything 03:22 42 Asleep At The Wheel Choo Choo Ch' Boogie 02:55 43 B.J.
    [Show full text]