Bo Diddley Bo Diddley's 16 All Time Greatest Hits Mp3, Flac, Wma

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Bo Diddley Bo Diddley's 16 All Time Greatest Hits mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul / Blues Album: Bo Diddley's 16 All Time Greatest Hits Style: Delta Blues MP3 version RAR size: 1416 mb FLAC version RAR size: 1693 mb WMA version RAR size: 1196 mb Rating: 4.4 Votes: 902 Other Formats: DXD ADX AAC FLAC VOC MPC VOX Tracklist 1 Hey! Bo Diddley/ Pretty thing/ She's Alright/ Bo Diddley's a Gun Slinger 2 You can't judge a book by its cover/ Road Runner/ I'm Sorry/ Bring It To Jerome 3 Bo Diddley/ Diddley Daddy/I'm a Man/ Say Man 4 I'm Looking For A Woman/ Who Do You Love/ Hus Your Mouth/ Dearest Darling Notes #454 Other versions Category Artist Title (Format) Label Category Country Year Bo Diddley's 16 All-Time LP-2989 Bo Diddley Greatest Hits (LP, Comp, Checker LP-2989 US 1964 Mono) Bo Diddley's 16 All-Time LP-2989, LP Checker, LP-2989, LP Bo Diddley Greatest Hits (LP, Comp, US 1964 2989 Checker 2989 Mono) Bo Diddley's 16 All-Time LPS-2989 Bo Diddley Greatest Hits (LP, Comp, Checker LPS-2989 US 1966 RE) LP 2989, Bo Diddley's 16 All-Time Checker, LP 2989, 2989, Bo Diddley Greatest Hits (LP, Comp, Checker, 2989, US Unknown LPS-2989 Mono, RE, RP) Checker LPS-2989 Bo Diddley's 16 All-Time CK 2989 Bo Diddley Greatest Hits (LP, Comp, Checker CK 2989 US 1977 RE) Related Music albums to Bo Diddley's 16 All Time Greatest Hits by Bo Diddley Bo Diddley - Go Bo Diddley Bo Diddley - Hush Your Mouth / Dearest Darling Bo Diddley / Chuck Berry - Two Great Guitars Bo Diddley - Bo Diddley / I'm A Man Bo Diddley - The Sound Of Bo Diddley: Greatest Hits Bo Diddley - Bo Diddley Is A Lover Bo Diddley - Diddley Daddy Bo Diddley - The Story Of Bo Diddley Bo Diddley - We're Listening To Bo Diddley, Volume 5 Howlin' Wolf Muddy Waters Bo Diddley - The Super Super Blues Band.

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Howlin' Wolf, Muddy Waters, Bo Diddley
Howlin' Wolf The Super Super Blues Band mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Blues Album: The Super Super Blues Band Country: Europe Released: 1992 Style: Chicago Blues MP3 version RAR size: 1262 mb FLAC version RAR size: 1907 mb WMA version RAR size: 1900 mb Rating: 4.3 Votes: 300 Other Formats: DMF XM MMF WMA ASF RA DXD Tracklist Hide Credits Long Distance Call 1 9:15 Written-By – McKinley Morganfield Ooh Baby / Wrecking My Love Life 2 Written By – Ellas McDaniel / Clifton James-Kay McDanielWritten-By [Ooh Baby] – Ellas 6:34 McDanielWritten-By [Wrecking My Love Life] – Clifton James, Kay McDaniel Sweet Little Angel 3 6:38 Written-By – Robert McCollum Spoonful 4 4:13 Written-By – Willie Dixon Diddley Daddy 5 5:12 Written By – Ellas McDaniel-Harvey FuquaWritten-By – Ellas McDaniel, Harvey Fuqua The Red Rooster 6 7:25 Written-By – Willie Dixon Goin' Down Slow 7 4:49 Written-By – James B. Oden Companies, etc. Distributed By – BMG Credits Bass – Buddy Guy Drums – Clifton James Guitar – Hubert Sumlin Liner Notes [Original Lp Release] – Richard Meltzer Liner Notes [Reissue Note] – A.M.* Other [Cd Reissue Coordination] – Andy McKaie Other [Digitally Transferred By] – Robert Stroughton Piano – Otis Spann Vocals, Guitar – Bo Diddley, Muddy Waters Vocals, Harmonica, Acoustic Guitar – Howlin' Wolf Vocals, Tambourine – Cookie Vee Notes Recorded in Chicago, September, 1967 Originally released January 26, 1968 Digitally transferred from original masters MCA Studios, No. Hollywood, CA Made & printed in Germany Barcode and Other Identifiers
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Early Chess Albums: 1956 to 1959 by Frank Daniels
Early Chess Albums: 1956 to 1959 by Frank Daniels LP-1425 to LP-1436 Soundtrack Rock, Rock, Rock LP-1425 First Appearance in Trades: BB December 15, 1956 The labels from pressing plant A have the catalog number in wide, bold print at the bottom. The authors’ names do not appear on the label. Neither side numbers nor master numbers appear on the label. Some copies (A1) have little space under the LP title, and little space above the first song on each side. Other copies (A2) have blank space separating the album title from the artists’ names, and blank space above the song titles. Still other copies (A3) have even more space above the song titles. The labels from pressing plant B have the catalog number in narrow print at the bottom. The authors’ names, side numbers, and master numbers all appear on the label, but the songs are not numbered. The first copies (B1) mistakenly list the author of “I Knew from the Start” as Moore and credit “Would I Be Lying” to Moore and Subotsky. and Subotsky The second labels from pressing plant B correctly credit “I Knew from the Start” to Moore and Subotsky, and credit “Would I Be Lying” to Moore. Some copies (B2) have the Side information closer to the song title below, while others (B3) have it closer to the line above. The original front cover design (fc1, shown above) indicated the LP number and “High Fidelity” in the lower left corner. The original back cover design (bc1, also above) only reads “HIGH FIDELITY” in the upper right corner.
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An Examination of Essential Popular Music Compact Disc Holdings at the Cleveland Public Library
DOCUMENT RESUME ED 435 403 IR 057 553 AUTHOR Halliday, Blane TITLE An Examination of Essential Popular Music Compact Disc Holdings at the Cleveland Public Library. PUB DATE 1999-05-00 NOTE 94p.; Master's Research Paper, Kent State University. Information Science. Appendices may not reproduce adequately. PUB TYPE Dissertations/Theses (040) EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS *Audiodisks; Discographies; *Library Collection Development; *Library Collections; *Optical Disks; *Popular Music; *Public Libraries; Research Libraries; Tables (Data) IDENTIFIERS *Cleveland Public Library OH ABSTRACT In the 1970s and early 1980s, a few library researchers and scholars made a case for the importance of public libraries' acquisition of popular music, particularly rock music sound recordings. Their arguments were based on the anticipated historical and cultural importance of obtaining and maintaining a collection of these materials. Little new research in this direction has been performed since then. The question arose as to what, if anything, has changed since this time. This question was answered by examining the compact disc holdings of the Cleveland Public Library, a major research-oriented facility. This examination was accomplished using three discographies of essential rock music titles, as well as recent "Billboard" Top 200 Album charts. The results indicated a strong orientation toward the acquisition of recent releases, with the "Billboard" charts showing the largest percentages of holdings for the system. Meanwhile, the holdings vis-a-vis the essential discographies ran directly opposite the "Billboard" holdings. This implies a program of short-term patron satisfaction by providing current "hits," while disregarding the long-term benefits of a collection based on demonstrated artistic relevance.
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Extra Special Supplement to the Great R&B Files Includes Updated
The Great R&B Pioneers Extra Special Supplement to the Great R&B Files 2020 The R&B Pioneers Series edited by Claus Röhnisch Extra Special Supplement to the Great R&B Files - page 1 The Great R&B Pioneers Is this the Top Ten ”Super Chart” of R&B Hits? Ranking decesions based on information from Big Al Pavlow’s, Joel Whitburn’s, and Bill Daniels’ popularity R&B Charts from the time of their original release, and the editor’s (of this work) studies of the songs’ capabilities to ”hold” in quality, to endure the test of time, and have ”improved” to became ”classic representatives” of the era (you sure may have your own thoughts about this, but take it as some kind of subjective opinion - with a serious try of objectivity). Note: Songs listed in order of issue date, not in ranking order. Host: Roy Brown - ”Good Rocking Tonight” (DeLuxe) 1947 (youtube links) 1943 Don’t Cry, Baby (Bluebird) - Erskine Hawkins and his Orchestra Vocal refrain by Jimmy Mitchell (sic) Written by Saul Bernie, James P. Johnson and Stella Unger (sometimes listed as by Erskine Hawkins or Jmmy Mitchelle with arranger Sammy Lowe). Originally recorded by Bessie Smith in 1929. Jimmy 1. Mitchell actually was named Mitchelle and was Hawkins’ alto sax player. Brothers Paul (tenorsax) and Dud Bascomb (trumpet) played with Hawkins on this. A relaxed piano gives extra smoothness to it. Erskine was a very successful Hawkins was born in Birmingham, Alabama. Savoy Ballroom ”resident” bandleader and played trumpet. in New York for many years.
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Newsletter June 2011
June 2011 Newsletter ------------------ Yesterday & Today Records P.O.Box 54 Miranda NSW 2228 Phone: (02)95311710 Email: [email protected] www.yesterdayandtoday.com.au ------------------------------------------------ Postage 1 cd $2 2cd $4 3/4cd $6.50 Postage charges recently increased but we will keep them at this level for this newsletter. ------------------------------------------------ This is our biggest newsletter yet. There is something for everybody. Please be early as some titles are a single copy only. This is very important for the $5 cds and rarities section. Thank you for reading and please share it with someone else. Any questions? Please do not hesitate to ask. ----------------------------------------------------------------------- Book of Lists Part II Last newsletter I invited participation in this section of the newsletter and I am pleased to say I received quite a few replies, so following are a few. Again, we would invite contributions for future newsletters and especially welcome unusual lists. Let there be no bounds. May even do a few least liked lists. Yesterday & Today Favourite Random 5 songs. 1) “Lillie’s White Lies” by Martin Delray…refer rarities section under Martin Delray for a full rundown. 2) “Daddy Never Had a Chance in Hell” by Roger Springer Band. They only ever had one album and it is a gem. You will pick up a copy in our $10 bin. It tells of the dad who used to drive his wife to church. At first he would wait in the car drinking his “Jim Beam from a sack” (what Americans call a brown paper bag). Then he would sit up the back, ostensibly to keep out of the cold outside.
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2012 Catalogue
Catalogue Rollercoaster Records was founded in RRC 2006 1976. Since our first release by the SINGLES Crickets in 1977 we have continued to Vinyl still lives at Rollercoaster! The HARDROCK release what we feel are important re- following RRC series 7” 45rpm singles are GUNTER issues together with releases featuring new all in picture sleeves, except where noted. JUKEBOX material, mostly from 50s and 60s artists. HELP ME With only a few releases every year we try RRC 2001 FIND MY to make each one worthwhile and BABY interesting with quality sound and THE informative packaging. If you have any CRICKETS comments, we’d like to hear from you. We have recently discovered a few forgotten CRUISE IN IT Our email address is copies of this great 45s in our warehouse - order [email protected]. now if you'd like one. And isn't that our very Or you can send letters the old-fashioned own design and artwork master, David Gibsone, way to: in the background next to the Rock-Ola on the cover - another reason to buy a copy! Rollercoaster Records Ltd, Rock House, Jukebox help me find my baby/Fiddle bop London Road, St Marys, Stroud, A 1979 single, recorded in Nashville with Gloucestershire, GL6 8PU England Sonny Curtis, JI Allison and Joe B Mauldin Barcode 5 012814 000065 Please note we do not have retail sales Cruise In It/Rock Around With Ollie Vee RRC 2007 premises and all enquiries should be made Barcode 5 012814 000010 to the above address by mail. The Crickets THE RRC 2004 CRICKETS If you telephone please note that our lines Forever in mind (PLAIN COVER) are open from 10am to 4.30pm Monday to BILL HALEY The weekend Friday only.
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New to Hoopla
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Satan's Beach Surf Them Webs 666 Shawn Burkard [email protected]
Washington University in St. Louis Washington University Open Scholarship Graduate School of Art Theses Graduate School of Art Spring 5-9-2017 Satan's Beach Surf Them Webs 666 Shawn Burkard [email protected] Follow this and additional works at: https://openscholarship.wustl.edu/samfox_art_etds Part of the Art and Design Commons Recommended Citation Burkard, Shawn, "Satan's Beach Surf Them Webs 666" (2017). Graduate School of Art Theses. ETD 84. https://doi.org/10.7936/ K7794342. This Thesis is brought to you for free and open access by the Graduate School of Art at Washington University Open Scholarship. It has been accepted for inclusion in Graduate School of Art Theses by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. Washington University in St. Louis Graduate School of Art Satan’s Beach: Surf Them Webs 666 Shawn Burkard A Thesis presented to the Sam Fox School of Design and Visual Arts of Washington University in St. Louis in partial fulfillment of the requirements for the degree of Master of Fine Art Program Director Patricia Olynyk Graduate Committee Thesis Advisor | Monika Weiss Primary Advisors Lisa Bulawski | Jessica Baran Committee Members Michael Byron | Dr. Mark Rollins Burkard, Shawn. Satan’s Beach Contents Abstract 1 Introduction 2 Trance 9 Aura 11 Surf Webs 666 16 Appropriation and Nonappropriation 19 Boredom 22 Life’s a Beach 24 Ceremony 26 Bo Diddley 29 Conclusion 34 Endnotes 36 Bibliography 37 Plates 38 Illustrations 44 Burkard, Shawn. Satan’s Beach Abstract It is crucial in today’s world to embrace technology, which is an essential component of our daily lives.
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Distribution Agreement in Presenting This Thesis Or Dissertation As A
Distribution Agreement In presenting this thesis or dissertation as a partial fulfillment of the requirements for an advanced degree from Emory University, I hereby grant to Emory University and its agents the non-exclusive license to archive, make accessible, and display my thesis or dissertation in whole or in part in all forms of media, now or hereafter known, including display on the world wide web. I understand that I may select some access restrictions as part of the online submission of this thesis or dissertation. I retain all ownership rights to the copyright of the thesis or dissertation. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. Signature: _____________________________________ _________________ Mashadi Ione Matabane Date Axe to Grind: A Cultural History of Black Women Musicians on the Acoustic and Electric Guitar in the United States By Mashadi Ione Matabane Doctor of Philosophy Graduate Institute of the Liberal Arts ______________________________________________ [Advisor’s signature] Regine O. Jackson, Ph.D. Advisor ______________________________________________ [Member’s signature] Allen Tullos, Ph.D. Committee Member ______________________________________________ [Member’s signature] Kimberly Wallace-Sanders, Ph.D. Committee Member Accepted: ______________________________________ Lisa A. Tedesco, Ph.D. Dean of the James T. Laney School of Graduate Studies _________________________ Date Axe to Grind: A Cultural History of Black Women Musicians on the Acoustic and Electric Guitar in the United States By Mashadi Ione Matabane M.A., New York University, 2001 B.A., Spelman College, 1999 Advisor: Regine O. Jackson, Ph.D. An abstract of A dissertation submitted to the Faculty of the James T.
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