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A Dynamic, Unforgettable Artist Whose Signature Style Has Made Him a Legend Among Blues Musicians. Terry Robb Is One of The
A dynamic, unforgettable artist whose signature style has made him a legend among blues musicians. Terry Robb is one of the top acoustic blues guitarists of our time. His signature fingerpicking style has earned him international acclaim from worldwide audiences, music critics and his distinguished peers. Incorporating elements from the Mississippi Delta music tradition, ragtime, country, swing and free jazz, Robb has built a unique blues sound that has made him a legend in his prolific music career spanning more than four decades. The multitude of awards Terry Robb has received speak to his seminal talent as a blues guitarist. Robb has been inducted into both the Oregon Music Hall of Fame and the Cascade Blues Association Hall of Fame. He single-handedly defined the Muddy Award for Best Acoustic Guitar, winning the honor 19 consecutive years from 1992 until 2011. Upon his retirement from the competition in 2011, the award was renamed the “Terry Robb Best Acoustic Guitar” Muddy Award to honor his landmark contributions to blues music. Robb was born in British Columbia, raised in the United States and currently resides in Portland, Oregon. He achieved greatness at an early age, performing with Ramblin’ Rex of Frank Zappa / Captain Beefheart fame, Canned Heat’s Henry Vestine, and steel string guitar icon John Fahey. At age twenty-four, Robb produced and played accompaniment on Fahey’s 1984 release “Let Go,” which received a four-star review by Rolling Stone and led to numerous subsequent collaborations for which Robb served as Fahey’s producer and session guitarist. As an acclaimed producer and session guitarist, Robb has contributed to many award-winning projects. -
John 1 Page Bio Epk Revised 2017
Artist Biography: John Stano The trademark of singer/songwriter John Stano’s sound is a distinctive blend of acoustic and slide guitar, harmonica and expressive vocals, developed over many years of performance and study. He sometimes adds a little mandolin, banjo or cigar box guitar to the mix as well. His style could be described as acoustic folk-blues or Americana. Initially self-taught, John went on to study American fingerstyle guitar at the Wisconsin Conservatory of Music and harmonica with national blues legend, Jim Liban. ‘Sing Out’ compared John’s music to early Bob Dylan while ‘Dirty Linen’ was reminded of Country Joe McDonald. John studied English and creative writing at U.W. Madison. A skillful use of language adds an original spark to his lyrics. Besides his own songs, John also performs his own arrangements of urban and country blues classics, instrumentals and contemporary songs, covering music by artists such as; John Prine, Bob Dylan, Greg Brown, Robert Johnson, Mississippi John Hurt, John Fahey, Gillian Welch, Leo Kottke and Tom Waits. John is a flexible and engaging performer who works regularly at a variety of indoor and outdoor venues. He also teaches guitar, harmonica, banjo and other acoustic instruments privately and in the schools. • John was nominated for a 2016 WAMI Folk Artist Award and the 2015 WAMI Singer Songwriter of the Year Award. • John won the Wisconsin Singer Songwriters Series Songwriter of the Year award for 2013. • John represented Wisconsin in the International Blues Challenge in Memphis on historic Beale Street in the solo/duo category after winning the regional competition in 2012 • Two songs from John’s CD Caribou Bar & Grill, ‘Soul Is’ and ’Pontiacs No More’ earned John the title of ‘Big Top Chautauqua Songwriter of the Year Finalist for 2010’ and he performed them along with some of his other songs under the Big Top. -
TWO LOUIES, March 2001 John Fahey 1939-2001
Joanna Bolme of the Stephen Malkmus Band 2 – TWO LOUIES, March 2001 John Fahey 1939-2001 ohn Fahey was a giant influence on the cultur- Chants, Breakdowns, and Military Waltzes, I al development of America. He was the first asked, “Who are these two guitar players?” I pic- Jperformer to expand American folk-blues tured a couple of 50-year-old masters whose melodies into a concert style similar to Segovia— vision of music and spatial technique reminded that is, one man, one guitar, and one grand vision me of pianist Glenn Gould. Here was a performer that encompassed the spiritual essence of Delta who carried his genre to a higher level, whose Blues, cosmic folk, and classical music. probes were deeper, whose vision was wider, “Here was a performer who carried his genre to a higher level, whose probes were deeper, whose vision was wider, whose understanding of the universe was more complete and profound than any before him.” Without John Fahey, there may not have whose understanding of the universe was more been a Windham Hill label of acoustic guitar mas- complete and profound than any before him. John ters. There would have been no Takoma label, gave us the same kind of breakthroughs that we which featured John’s first seven albums and got from Debussy and Stravinsky. It may not have more. There may not have been a Music been possible without him. Millennium... certainly not as we know it. It was It’s incredible that so much talent was John Fahey’s music that inspired the Millennium brought out in a guitarist in his twenties from a founders to open their little Portland record shop little town in Maryland. -
Print Version (Pdf)
Special Collections and University Archives UMass Amherst Libraries Broadside (Mass.) Collection Digital 1962-1968 1 box (1.5 linear foot) Call no.: MS 1014 About SCUA SCUA home Credo digital Scope Inventory Broadside, vol. 1 Broadside, vol. 2 Broadside, vol. 3 Broadside, vol. 4 Broadside, vol. 5 Broadside, vol. 6 Broadside, vol. 7 Broadside and Free Press, vol. 8 Broadside and Free Press, vol. 9 Admin info Download xml version print version (pdf) Read collection overview When The Broadside first appeared in March 1962, it immediately became a key resource for folk musicians and fans in New England. Written by and for members of the burgeoning scene, The Broadside was a central resource for information on folk performances and venues and throughout the region, covering coffeehouses, concert halls, festivals, and radio and television appearances. Assembled by Folk New England, the Broadside collection contains a nearly complete run of the Boston- and Cambridge-based folk music periodical, The Broadside, with the exception of the first issue, which has been supplied in photocopy. See similar SCUA collections: Folk music Massachusetts (East) Printed materials Background When The Broadside first appeared in March 1962, it immediately became a key resource for folk musicians and fans in New England. Written by and for members of the burgeoning scene, The Broadside was a central resource for information on folk performances and venues and throughout the region, covering coffeehouses, concert halls, festivals, and radio and television appearances. The rapid growth of the folk scene in Boston during the mid- 1950s was propelled in part by the popularity of hootenannies held at the YMCA and local hotels, and by a growing number of live music venues, catching on especially in the city's colleges. -
Orphans & Relics One Sheet Edited for Website
Artist: Nelson Wright Genre: Americana Release Date: September 2014 Configurations: CD, Digital Download Retail Outlets: iTunes, Amazon, CDBaby, nelsonwright.com About the Artist and the Album Track Listing Seattle-based Nelson Wright came of age in rural upstate New Miller’s Wheel (4:03) York, where American roots music got under his skin and fired his This is a song of loss, the kind that's inevitable when two lovers playing, writing, and gigging. Inspiration came from earlier see the world differently. It's a straight-up folk revival generations of folk musicians—like Dave Van Ronk, Mississippi arrangement, with Michael Thomas Connolly's achingly beautiful John Hurt, Rev. Gary Davis, and the young Bob Dylan—who dobro capturing the emotion of the lyrics. haunted the coffeehouses of New York City’s Greenwich Village. Orphans Of The Past (3:48) Years passed. Nelson was part of roots rock bands, bluegrass A song of youth and optimism, about separating forever from the bands, no bands, that all came and went. Nelson's solo career past and being independent of all that came before. Musically, started in 2012 with the release of Still Burning, an album of ten it’s a passionate rock anthem about a trip on the old Route 66. original songs that harkened back to his folk music days and elicited positive reviews ("..it's poetic, it's melodic, it's timeless," Mama It Will Surely Do (2:40) wrote Jean-Jacques Corrio in Le Cri du Coyote). An idiosyncratic country blues, but a good-time country blues. The guitar part was inspired by Mississippi John Hurt and the Orphans & Relics is an album that captures nine different corners lyrics by John Sebastian (who were friends in the old Greenwich of American music in its nine tracks. -
Senator Winter 2018 Pictures
SENATOR THEATRE 5904 YORK ROAD ONE SHOW ONLY! WEDNESDAY, JANUARY 24 SUNDAY, JANUARY 28 10 AM 7:30 MONDAY, JANUARY 29 1 PM WEDNESDAY, JANUARY 17 7:30 TUESDAY, JANUARY 30 9:30 PM SUNDAY, JANUARY 21 10 AM MONDAY, JANUARY 22 1 PM TUESDAY, JANUARY 23 9:30 PM WEDNESDAY, JANUARY 31 7:30 PM SUNDAY, FEBRUARY 4 10 AM MONDAY, FEBRUARY 5 1 PM WEDNESDAY, FEBRUARY 14 8 PM TUESDAY, FEBRUARY 6 1 PM WEDNESDAY, FEBRUARY 7 7:30 SUNDAY, FEBRUARY 18 10 AM SUNDAY, FEBRUARY 11 10 AM MONDAY, FEBRUARY 12 1 PM TUESDAY, FEBRUARY 13 9:30 PM REVIVAL CALENDAR ADMISSION EVENING $10 STUDENT / SR $9 MATINEE $7 thesenatortheatre.com WARNER BROTHERS CARTOON SHOW ONE SHOW ONLY SUNDAY, FEBRUARY 25 10 AM REVIVAL CALENDAR ADMISSION EVENING $10 SENATOR THEATRE STUDENT / SR $9 5904 YORK ROAD MATINEE $7 ONCE UPON A TIME IN AMERICA “Just about all the incidents in this…film echo scenes in Hollywood gangster movies, but the director, Sergio Leone, inflates them, slows them down, and gives them a dreamy obsessiveness. He transmutes the lower East Side settings of those gangster movies to give the genre a richer, more luxuriant visual texture. His widescreen view of a group of Jewish kids who start with petty crime and move into big- time racketeering is set in 1921, 1933, and 1968, but not in that order….It isn't just the echoing moments that keep you absorbed--it's the reverberant dreamland settings and Leone's majestic, billowing sense of film movement.” (Pauline Kael) 4K Restoration 251 min. -
Lps Page 1 -.:: GEOCITIES.Ws
LPs ARTIST TITLE LABEL COVER RECORD PRICE 10 CC SHEET MUSIC UK M M 5 2 LUTES MUSIC IN THE WORLD OF ISLAM TANGENT M M 10 25 YEARS OF ROYAL AT LONDON PALLADIUM GF C RICHARD +E PYE 2LPS 1973 M EX 20 VARIETY JOHN+SHADOWS 4 INSTANTS DISCOTHEQUE SOCITY EX- EX 20 4TH IRISH FOLK FESTIVAL ON THE ROAD 2LP GERMANY GF INTRERCORD EX M 10 5 FOLKFESTIVAL AUF DER LENZBURG SWISS CLEVES M M 15 5 PENNY PIECE BOTH SIDES OF 5 PENNY EMI M M 7 5 ROYALES LAUNDROMAT BLUES USA REISSUE APOLLO M M 7 5 TH DIMENSION REFLECTION NEW ZEALAND SBLL 6065 EX EX 6 5TH DIMENSION EARTHBOUND ABC M M 10 5TH DIMENSION AGE OF AQUARIUS LIBERTY M M 12 5TH DIMENSION PORTRAIT BELL EX EX- 5 75 YEARS OF EMI -A VOICE WITH PINK FLOYD 2LPS BOX SET EMI EMS SP 75 M M 40 TO remember A AUSTR MUSICS FROM HOLY GROUND LIM ED NO 25 HG 113 M M 35 A BAND CALLED O OASIS EPIC M M 6 A C D C BACK IN BLACK INNER K 50735 M NM 10 A C D C HIGHWAY TO HELL K 50628 M NM 10 A D 33 SAME RELIGIOUS FOLK GOOD FEMALE ERASE NM NM 25 VOCALS A DEMODISC FOR STEREO A GREAT TRACK BY MIKE VICKERS ORGAN EXP70 M M 25 SOUND DANCER A FEAST OF IRISH FOLK SAME IRISH PRESS POLYDOR EX M 5 A J WEBBER SAME ANCHOR M M 7 A PEACOCK P BLEY DUEL UNITY FREEDOM EX M 20 A PINCH OF SALT WITH SHIRLEY COLLINS 1960 HMV NM NM 35 A PINCH OF SALT SAME S COLLINS HMV EX EX 30 A PROSPECT OF SCOTLAND SAME TOPIC M M 5 A SONG WRITING TEAM NOT FOR SALE LP FOR YOUR EYES ONLY PRIVATE M M 15 A T WELLS SINGING SO ALONE PRIVATE YPRX 2246 M M 20 A TASTE OF TYKE UGH MAGNUM EX EX 12 A TASTE OF TYKE SAME MAGNUM VG+ VG+ 8 ABBA GREATEST HITS FRANCE VG 405 EX EX -
September 2019
STREET DATE: SEPTEMBER 20, 2019 SEPTEMBER NEW RELEASE GUIDE NEW RELEASE GUIDE SEPTEMBER 2019 Welcome!! Welcome!! On the Children’s side of things, Oran Etkin is a jazz clarinetist who Kevin Burke is considered one of the nest living Irish ddlers. Born in incorporates music of Eastern Europe, the Middle East and Africa into London to Irish parents from Sligo, Kevin has spent time with the his recordings. Finding Friends Far From Home: A Journey With Clara legendary Christy Moore, The Bothy Band, Arlo Guthrie and a host of Net is a family album incorporating these and other sounds on his others. This album has Kevin returning the County Sligo of his parents journey with Clara Net (clarinet). Also Josh Lovelace’s Growing Up is and playing with many friends who are also internationally known now available on vinyl. And we reintroduce a deleted tiotle by Caspar musicians and just happen to live in the Sligo area. This new album is Babypants that was too good to say goodbye to---Welcome Back Away truly Sligo Made. We Go! Bob Dylan is known as a songwriter who rarely co-writes. But he has And we should warn everybody, this new live album from The with Sam Shepard, Robert Hunter and even Gene Simmons (say Beaumonts, This Is Austin, is probably going to upset someone. We what?!) and also with Jude Johnstone who is oftimes know as “a understand there might be some cussin’ on it. There are songs about songwriter’s songwriter”. Johnstone’s songs have been recorded by Hell-raisin’, drinkin’ and probably some other nastiness involved with Trisha Yearwood, Johnny Cash, Stevie Nicks, Bonnie Raitt and these Texas no accounts. -
Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources
Discography Of The Vanguard Label Vanguard Records was established in New York City in 1947. It was owned by Maynard and Seymour Solomon. The label released classical, folk, international, jazz, pop, spoken word, rhythm and blues and blues. Vanguard had a subsidiary called Bach Guild that released classical music. The Solomon brothers started the company with a loan of $10,000 from their family and rented a small office on 80 East 11th Street. The label was started just as the 33 1/3 RPM LP was just gaining popularity and Vanguard concentrated on LP’s. Vanguard commissioned recordings of five Bach Cantatas and those were the first releases on the label. As the long play market expanded Vanguard moved into other fields of music besides classical. The famed producer John Hammond (Discoverer of Robert Johnson, Bruce Springsteen Billie Holiday, Bob Dylan and Aretha Franklin) came in to supervise a jazz series called Jazz Showcase. The Solomon brothers’ politics was left leaning and many of the artists on Vanguard were black-listed by the House Un-American Activities Committive. Vanguard ignored the black-list of performers and had success with Cisco Houston, Paul Robeson and the Weavers. The Weavers were so successful that Vanguard moved more and more into the popular field. Folk music became the main focus of the label and the home of Joan Baez, Ian and Sylvia, Rooftop Singers, Ramblin’ Jack Elliott, Doc Watson, Country Joe and the Fish and many others. During the 1950’s and early 1960’s, a folk festival was held each year in Newport Rhode Island and Vanguard recorded and issued albums from the those events. -
Salem Leaving Takoma Park
Salem Leaving Takoma Park ~ 43 Years of John Fahey ~ The John Fahey Catalog From The International Fahey Committee Chris Downes, Paul Bryant, Malcolm Kirton, Tom Kremer Thanks to Mitchell Wittenberg and Glenn Jones DISCOGRAPHY...................................................................................................................................................... 4 SUMMARY ............................................................................................................................................................. 4 TRACK LISTING...................................................................................................................................................... 6 THE FONOTONE SESSIONS 1958-1962 ............................................................................................................... 6 BLIND JOE DEATH 1959/1964/1967 ..................................................................................................................... 8 DEATH CHANTS, BREAKDOWNS, AND MILITARY WALTZES 1964/1967........................................................ 8 THE DANCE OF DEATH AND OTHER PLANTATION FAVORITES 1964/67 .................................................... 9 THE TRANSFIGURATION OF BLIND JOE DEATH 1965 ................................................................................... 9 THE EARLY YEARS (FONOTONE) 1965 ............................................................................................................ 10 GUITAR VOLUME 4 THE GREAT SAN BERNARDINO BIRTHDAY -
Journal in Entirety
EDITOR Robert Danielson EDITORIAL BOARD Kenneth J. Collins Professor of Historical Teology and Wesley Studies J. Steven O’Malley Professor of Methodist Holiness History EDITORIAL ADVISORY PANEL William Abraham, Perkins School of Teology David Bundy, New York Teological Seminary Ted Campbell, Perkins School of Teology Hyungkeun Choi, Seoul Teological University Richard Heitzenrater, Duke University Divinity School Scott Kisker, Wesley Teological Seminary Sarah Lancaster, Methodist Teological School of Ohio Gareth Lloyd, University of Manchester Randy Maddox, Duke University Divinity School Nantachai Medjuhon, Muang Tai Church, Bangkok, Tailand Stanley Nwoji, Pastor, Lagos, Nigeria Paul Numrich, Teological Consortium of Greater Columbus Dana Robert, Boston University Howard Snyder, Manchester Wesley Research Centre L. Wesley de Souza, Candler School of Teology Leonard Sweet, Drew University School of Teology Amos Yong, Regent University Hwa Yung, United Methodist Church, Kuala Lampur, Malaysia All inquiries regarding subscriptions, back issues, permissions to reprint, manuscripts for submission, and books for review should be addressed to: Te Asbury Journal Asbury Teological Seminary 204 N. Lexington Avenue, Wilmore, KY 40390 FAX: 859-858-2375 http://place.asburyseminary.edu/asburyjournal/ © Copyright 2017 by Asbury Teological Seminary ISSN 1090-5642 Te Asbury Journal VOLUME 72:1 Spring 2017 TABLE OF CONTENTS 6 From the Editor, Robert Danielson 8 Improvising with the Quadrilateral: An Augustinian Approach to Recovering the Use of the Wesleyan Quadrilateral in the Teology of Preaching Nathan Crawford 20 Waltzing with Wesley: Wesleyan Teology as a Renewing Framework for Chinese Christian Spirituality and Global Identity Samuel K. Law 44 Te Teme of Creation in Old Testament Teology from the Twentieth Century Onwards: Assessing the State of Play David J. -
Mark Solo Master Song List
Mark Sims Song List 7-16-21 Covers: Alameda, Elliot Smith All Of My Love, Led Zeppelin Alberta, Doc Watson Ambulance Blues, Neil Young Are You The One That I’ve Been Waiting For, Nick Cave and the Bad Seeds Atlantic City, Bruce Springsteen/The Band Bad Moon Rising, Credence Clearwater Revival Big Dipper, Built To Spill Bird On The Wire, Leonard Cohen Bright Lights, Big City, Jimmy Reed Brown Eyed Girl, Van Morrison Bob Dylan’s Dream, Bob Dylan Boots Of Spanish Leather, Bob Dylan Butterfly, Weezer Captain Kennedy, Neil Young California Stars, Wilco Cocaine Blues, Rev. Gary Davis Jr. Dead Flowers, Rolling Stones Death Of A Clown, Kinks Deep In Love, Bonny Light Horsemen Deep River Blues, Doc Watson Delia, Traditional (David Bromberg) Don’t Dream It’s Over, Crowded House Don’t Think Twice, It’s Alright, Bob Dylan Drifting, Jimi Hendrix Everything Is Free, Gillian Welch Fade Into You, Mazzy Star Fly Me To The Moon, Bart Howard Flightless Bird, Iron and Wine Flyin’ Shoes, Townes Van Zant Fox In The Snow, Belle and Sebastian The Girl From Ipanema, Jobim Girl From The North Country, Bob Dylan Harvest Moon, Neil Young The Heart of Saturday Night, Tom Waits Here Comes The Sun, The Beatles Highway Kind, Townes Van Zant Hollow Log, Beck Hotel California, The Eagles I Hope That I don’t Fall In Love With You, Tom Waits I Want To See The Bright Lights, Richard and Linda Thompson I’ve Just Seen A Face, The Beatles Let It Be Me, Ray Lamontagne Learning The Game, Buddy Holly Look Through Any Window, The Hollies Lovesong Of The Buzzard, Iron and Wine Make