DOCSLIB.ORG

The Recording Academy®

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Recording Academy® ® The Recording Academy 3030 Olympic Boulevard • Santa Monica, CA 90404 www.grammy.com JUANES, SETH MACFARLANE AND TRISHA YEARWOOD ADDED TO STELLAR LINEUP FOR "SINATRA 100 — AN ALL-STAR GRAMMY® CONCERT" Music Stars Salute Frank Sinatra With Tribute Celebration Presented At Wynn Las Vegas; Broadcast On CBS, Dec. 6, 2015 SANTA MONICA, Calif. (Dec. 1, 2015) — Two-time GRAMMY winner Juanes, GRAMMY nominee Seth MacFarlane and three-time GRAMMY winner Trisha Yearwood have been added to the list of performers for "Sinatra 100 — An All-Star GRAMMY Concert." They join previously announced performers Tony Bennett, Garth Brooks, Zac Brown, Harry Connick Jr., Celine Dion, Alicia Keys, Lady Gaga, John Legend, Adam Levine, Carrie Underwood, and Usher. The primetime special, presented by The Recording Academy®, AEG Ehrlich Ventures and CBS, honors the remarkable legacy of the legendary nine-time GRAMMY winner Frank Sinatra by celebrating the late icon's 100th birthday with a spectacular lineup of entertainers performing songs made famous by the Chairman of the Board. The live concert taping will be held Wednesday, Dec. 2, 2015, at Wynn Las Vegas Encore Theater. The special will be broadcast in HDTV and 5.1 surround sound on the CBS Television Network on Sunday, Dec. 6, from 9–11 p.m. ET/PT. "This show is an amazing journey through Frank Sinatra's music, cast with some of today's greatest artists," said three-time GRAMMY winner Don Was, music director for the concert. "In paying homage to Mr. Sinatra's music and treating his legacy with the utmost respect, most of the artists will sing arrangements as originally crafted for Mr. Sinatra by giants Don Costa, Gordon Jenkins, Quincy Jones, and Nelson Riddle. It's going to be an incredible show!" Among Sinatra's nine GRAMMY wins are three for Album Of The Year for Come Dance With Me (1959), September Of My Years (1965) and A Man And His Music (1966). Additional recognition from The Recording Academy includes a Lifetime Achievement Award, GRAMMY Legend Award, and 13 recordings inducted into the GRAMMY Hall Of Fame®. "Sinatra 100 — An All-Star GRAMMY Concert" continues the tradition of previous Emmy Award®-winning TV specials presented by The Recording Academy, AEG Ehrlich Ventures and CBS: "Stevie Wonder: Songs In The Key Of Life — An All-Star GRAMMY Salute" and "The Beatles: The Night That Changed America — A GRAMMY Salute." In close partnership with the Sinatra family, "Sinatra 100 — An All-Star GRAMMY Concert" is produced by AEG Ehrlich Ventures, LLC. Ken Ehrlich is the executive producer, Lou Horvitz is director, and David Wild and Ehrlich are writers. In celebrating Sinatra's centennial, The Recording Academy explores his historical ties to the city of Las Vegas in this special feature (http://www.grammy.com/news/sin-atra-city-the-story-of-frank-sinatra-and-las-vegas) and offers an interactive infographic detailing his top songs covered by other artists. Link to infographic: http://www.grammy.com/node/200726 Embed for infographic: <img style="max-width:100%" src="//cdn.thinglink.me/api/image/727671188364460034/1024/10/scaletowidth#tl- 727671188364460034;1043138249'" class="alwaysThinglink"/><script async charset="utf-8" src="//cdn.thinglink.me/jse/embed.js"></script> For the latest news and content, follow the GRAMMY conversation on social: Facebook: Facebook.com/theGRAMMYs Twitter: @theGRAMMYs Instagram: @thegrammys Snapchat: thegrammys Tumblr: thegrammys.tumblr.com Vine: vine.co.theGRAMMYs Cheat Tweet: .@trishayearwood, @juanes & @SethMacFarlane added to the lineup for #Sinatra100: An All-Star #GRAMMYConcert About The Recording Academy Established in 1957, The Recording Academy is an organization of musicians, songwriters, producers, engineers, and recording professionals dedicated to improving the cultural condition and quality of life for music and its makers. Internationally known for the GRAMMY Awards® — the preeminent peer-recognized award for musical excellence and the most credible brand in music — The Recording Academy is responsible for groundbreaking professional development, cultural enrichment, advocacy, education, and human services programs. The Academy continues to focus on its mission of recognizing musical excellence, advocating for the well-being of music makers and ensuring music remains an indelible part of our culture. For more information about The Academy, please visit www.grammy.com. # # # Media Contacts: Neda Azarfar / Jerry J. Sharell The Recording Academy 310.392.3777 [email protected] / [email protected] Tiffany Smith-Anoa'I / Kate Fisher CBS Television 818.655.1587/212.975.3818 [email protected] / [email protected] Maureen O'Connor Rogers & Cowan 310.854.8116 [email protected] .
Load more

Recommended publications
  • Guide to Ella Fitzgerald Papers
    Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996.................................................................
    [Show full text]
  • Sammy Strain Story, Part 4: Little Anthony & the Imperials
    The Sammy Strain Story Part 4 Little Anthony & the Imperials by Charlie Horner with contributions from Pamela Horner Sammy Strain’s remarkable lifework in music spanned almost 49 years. What started out as street corner singing with some friends in Brooklyn turned into a lifelong career as a professional entertainer. Now retired, Sammy recently reflected on his life accomplishments. “I’ve been inducted into the Rock & Roll Hall of Fame twice (2005 with the O’Jays and 2009 with Little (Photo from the Classic Urban Harmony Archives) Anthony & the Imperials), the Vocal Group Hall of Fame (with both groups), the Pioneer R&B Hall of Fame (with Little An- today. The next day we went back to Ernie Martinelli and said thony & the Imperials) and the NAACP Hall of Fame (with the we were back together. Our first gig was to be a week-long O’Jays). Not a day goes by when I don’t hear one of the songs engagement at the Town Hill Supper Club, a place that I had I recorded on the radio. I’ve been very, very, very blessed.” once played with the Fantastics. We had two weeks before we Over the past year, we’ve documented Sammy opened. From the time we did that show at Town Hill, the Strain’s career with a series of articles on the Chips (Echoes of group never stopped working. “ the Past #101), the Fantastics (Echoes of the Past #102) and The Town Hall Supper Club was a well known venue the Imperials without Little Anthony (Echoes of the Past at Bedford Avenue and the Eastern Parkway in the Crown #103).
    [Show full text]
  • Cole Porter: the Social Significance of Selected Love Lyrics of the 1930S
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Unisa Institutional Repository Cole Porter: the social significance of selected love lyrics of the 1930s by MARILYN JUNE HOLLOWAY submitted in accordance with the requirements for the degree of MASTER OF ARTS in the subject of ENGLISH at the UNIVERSITY OF SOUTH AFRICA SUPERVISOR: PROFESSOR IA RABINOWITZ November 2010 DECLARATION i SUMMARY This dissertation examines selected love lyrics composed during the 1930s by Cole Porter, whose witty and urbane music epitomized the Golden era of American light music. These lyrics present an interesting paradox – a man who longed for his music to be accepted by the American public, yet remained indifferent to the social mores of the time. Porter offered trenchant social commentary aimed at a society restricted by social taboos and cultural conventions. The argument develops systematically through a chronological and contextual study of the influences of people and events on a man and his music. The prosodic intonation and imagistic texture of the lyrics demonstrate an intimate correlation between personality and composition which, in turn, is supported by the biographical content. KEY WORDS: Broadway, Cole Porter, early Hollywood musicals, gays and musicals, innuendo, musical comedy, social taboos, song lyrics, Tin Pan Alley, 1930 film censorship ii ACKNOWLEDGEMENTS I should like to thank Professor Ivan Rabinowitz, my supervisor, who has been both my mentor and an unfailing source of encouragement; Dawie Malan who was so patient in sourcing material from libraries around the world with remarkable fortitude and good humour; Dr Robin Lee who suggested the title of my dissertation; Dr Elspa Hovgaard who provided academic and helpful comment; my husband, Henry Holloway, a musicologist of world renown, who had to share me with another man for three years; and the man himself, Cole Porter, whose lyrics have thrilled, and will continue to thrill, music lovers with their sophistication and wit.
    [Show full text]
  • AXS TV Schedule for Mon. May 21, 2018 to Sun. May 27, 2018 Monday
    AXS TV Schedule for Mon. May 21, 2018 to Sun. May 27, 2018 Monday May 21, 2018 5:00 PM ET / 2:00 PM PT 8:00 AM ET / 5:00 AM PT Steve Winwood Nashville A smooth delivery, high-spirited melodies, and a velvet voice are what Steve Winwood brings When You’re Tired Of Breaking Other Hearts - Rayna tries to set the record straight about her to this fiery performance. Winwood performs classic hits like “Why Can’t We Live Together”, failed marriage during an appearance on Katie Couric’s talk show; Maddie tells a lie that leads to “Back in the High Life” and “Dear Mr. Fantasy”, then he wows the audience as his voice smolders dangerous consequences; Deacon is drawn to a pretty veterinarian. through “Can’t Find My Way Home”. 9:00 AM ET / 6:00 AM PT 6:00 PM ET / 3:00 PM PT The Big Interview Foreigner Phil Collins - Legendary singer-songwriter Phil Collins sits down with Dan Rather to talk about Since the beginning, guitarist Mick Jones has led Foreigner through decades of hit after hit. his anticipated return to the music scene, his record breaking success and a possible future In this intimate concert, listen to fan favorites like “Double Vision”, “Hot Blooded” and “Head partnership with Adele. Games”. 10:00 AM ET / 7:00 AM PT 7:00 PM ET / 4:00 PM PT Presents Phil Collins - Going Back Fleetwood Mac, Live In Boston, Part One Filmed in the intimate surroundings of New York’s famous Roseland Ballroom, this is a real Mick, John, Lindsey, and Stevie unite for a passionate evening playing their biggest hits.
    [Show full text]
  • Jazzletter PO Box 240, Ojai CA 9302-#0240
    Gene Lees jazzletter PO Box 240, Ojai CA 9302-#0240 ./Tlugust 1998 Vol. 17 No. 8 Other Voices Your strategy on renewals hit the mark. Here’s my check, ’cause sure as hell if I put it off, it will drown in the Sea of Good Intentions. This is for myself and my gift subscriptions. I just got back from Switzerland and the Bem Jazz Festival. I agree. Copy machinesare the enemy. Common law knowledge I am writing regarding the accessibility of independently conceming intellectual property is scarce, and the present murky produced recordings. Ten years ago it seemed as though, through copyright law is of little help. As the result, copies are made will- Tower Records, jazz recordings would finally be available in a nilly. Hard-earned and well-deserved royalty income is lost. Yet mainstream environment. For a while that was true. But all that has for a situation l’ve frequently encountered, may I suggest an changed since the major labels have flooded the market with their imperfect solution? multiple compilations of old recordings and the new artists they’ve During a recent spirited conversation re Marsalis and Crouch, invested big bucks in. The result is that shelf space is now totally I referred to Jazzletter opinions. I wanted my dinner companions controlled by the majors, in the same way supermarket shelves -— an intelligent yet jazz-unkriowledgeable attomey couple — to only carry the biggest suppliers’ products. The same scenario is have the benefit of your thoughtful insights and scholarship. Yet being played out in book stores. Just try to buy one of the jazz it was not practical for me to buy a year-long subscription for books published by university presses in these slick new mega- them, as well as for any other similar dinner-table encounter.
    [Show full text]
  • June 2020 Volume 87 / Number 6
    JUNE 2020 VOLUME 87 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
    [Show full text]
  • Paul Anka – Primary Wave Music
    PAUL ANKA facebook.com/paulankaofficial instagram.com/paulankaofficial twitter.com/paulanka Imageyoutube.com/user/PaulAnkaTV not found or type unknown paulanka.com en.wikipedia.org/wiki/Paul_Anka open.spotify.com/artist/7ceUfdWq2t5nbatS6ollHh Born July 30, 1941, in Ottawa Canada, into a tight-knit family, Paul Anka didn’t waste much time getting his life in music started. He sang in the choir at St. Elijah Syrian Orthodox Church and briefly studied piano. He honed his writing skills with journalism courses, even working for a spell at the Ottawa Citizen. By 13, he had his own vocal group, the Bobbysoxers. He performed at every amateur night he could get to in his mother’s car, unbeknownst to his her of course. Soon after, he won a trip to New York by winning a Campbell’s soup contest that required him to spend three months collecting soup can labels. It was there his dream was solidified, he was going to make it as a singer composer; there was not a doubt in his young tenacious mind. In 1956, he convinced his parents to let him travel to Los Angeles, where he called every record company in the phone book looking for an audition. A meeting with Modern Records led to the release of Anka’s first single, “Blau-Wile Deverest Fontaine.” It was not a hit, but Anka kept plugging away, going so far to sneak into Fats Domino’s dressing room to meet the man and his manager in Ottawa. When Anka returned New York in 1957, he scored a meeting with Don Costa, the A&R man for ABC-Paramount Records.
    [Show full text]
  • An Analytical Approach to Vibraphone Performance Through the Transcription and Analysis of Gary Burton’S Solo on Blue Monk
    AN ANALYTICAL APPROACH TO VIBRAPHONE PERFORMANCE THROUGH THE TRANSCRIPTION AND ANALYSIS OF GARY BURTON’S SOLO ON BLUE MONK A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in Partial fulfillment of the Requirements for the degree of Doctor of Musical Arts in The School of Music By Charles B. Brooks B.A., Western Kentucky University, 1997 M.A., Austin Peay State University, 2000 December 2007 ACKNOWLEDGMENTS This document would not exist without the guidance and counsel of several extraordinary individuals. It is dedicated to my father for introducing me to the world of music. I would like to extend special gratitude to my mother for her guidance, strength, and belief that anything is possible. In addition I would like to thank Johnny Walker and my brother, Michael Brooks, without whom none of this would possible. This document is also dedicated to Kenneth Welch and Larry Long for their counsel and friendship. I extend special thanks to my teachers Dr. Christopher Norton, Mr. David Steinquest, Dr. Charles Smith, Dr. Thomas King, Dr. Jefferey Wood, Dr. Dinos Constantinides, Dr. Joseph Skillen, Dr. Robert Peck, and Dr. Michael Kingan. I would especially like to thank Dr. Willis Delony for staying the course and guiding me through rough terrain. ii TABLE OF CONTENTS ACKNOWLEDGMENTS ..............................................................................................ii LIST OF MUSICAL EXAMPLES................................................................................iv
    [Show full text]
  • J2P and P2J Ver 1
    For Week Ending May 21, 1966 Record Industry Association of America performer -LP's on char! 15 weeks or less registering greatest proportionate upward progress this week. ( ) STAR _ seal of certification as million dollar LP's. hkk tw w«t wL.et«t TRI ,Irles, late a N. OMrI Tw IW W% 10 R«k TNIa Ar., Label t Me. R Mott cs.t «k Tm., A,»1» .MI a N.. 0 06» 4 IF YOU CAN BELIEVE YOUR EYES 53 CHOICE 11 l.M Get KA 80 WHERE DID OUR LOVE GO 88 AND EARS 11 Vic, VM 3701 M): UP]5010) Searr«, MMN. MT 341 (M), 5621 m Mamaa aN M. r.p: a D.Nm o 50006 M); a soon m 45 MY FAIR LADY 85 ,{y 107 BEST OF S«nAxaa, NNW KoL Roa IM): Ka 2600 M) ; LITTLE ANTHONY & THE 60 WHAT NOW MY LOVE ......... , 2:4ír Q Mert IIy,M a Me Mass, IMPERIALS 11 Tliea« IaM 11 114 (M7: 55 THE MAN FROM 17 Sr 1110 ISI UN.C.L.E....... PCP al NOR 1M1; DCS óa07 0) NNa MNI«e11ro, RCA VIL, VIA 3473 (M); lfr 3415 3 ry1 110 BIG HITS Tide and A TASTE OF HONEY. (High Green Grau) 6 43 TEMPTIN' la ......... 5 TEMPTATIONS 26 r.oatek Cwal fNIiM fíen«, l «6« Mr1 M); NK1 (f) ...... roc. uL 574116. M/; CIL 737410 Q G.d,ovt4M) ;vie 12402 m O GOING PLACES 42 87 HIGHWAY 61 REVISITED 34 .... .. .. 32 ami` THEY'RE PLAYING OUR SONG. 15 dyke, Nut a Nis TIMana Masa AEI SN CokYla CL 2357 M); u .1N IS) it.
    [Show full text]
  • The “Second Quintet”: Miles Davis, the Jazz Avant-Garde, and Change, 1959-68
    THE “SECOND QUINTET”: MILES DAVIS, THE JAZZ AVANT-GARDE, AND CHANGE, 1959-68 A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Kwami Taín Coleman August 2014 © 2014 by Kwami T Coleman. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial 3.0 United States License. http://creativecommons.org/licenses/by-nc/3.0/us/ This dissertation is online at: http://purl.stanford.edu/vw492fh1838 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Karol Berger, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. MichaelE Veal, Co-Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Heather Hadlock I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Charles Kronengold Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost for Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format.
    [Show full text]
  • Musician Dad Who Went out for Humor of His Which Served Him So Well So Cigarettes One Night and Never Came Back
    VOL. 115 - NO. 19 BOSTON, MASSACHUSETTS, MAY 13, 2011 $.30 A COPY Downtown Boston BID Celebrates Annual Duckling Day Parade Held on Mother’s Day “Stepping Up Downtown” at BNY Mellon Financial Center Irish step dancer “Stepping” during the Downtown Boston celebration. (Photo by Rosario Scabin, Ross Photography) Property owners and lead- non-profit organizations and ers of the Downtown Boston educational institutions, and Business Improvement Dis- residents from throughout trict (BID) celebrated the the BID district, which in- start of its first year provid- cludes Downtown Crossing, ing services to the district the Ladder and Theater Dis- with an event at BNY Mellon trict and parts of the Finan- Financial Center. Participat- cial District. The Friends of the Public Garden presented the Annual Duckling Day Parade in the ing in the May 4 festivities “I am delighted that this Boston Common. Harvard University Band led parents and children through the streets were property and business of Beacon Hill as they retraced the steps of the beloved characters from the classic owners, representatives from (Continued on Page 15) children’s story “Make Way for Ducklings” by Robert McCloskey. At the end of the parade, the Wheelock Family Theater presented a dramatic reading from the book. (Photos by Rosario Scabin, Ross Photography) News Briefs by Sal Giarratani CONSOLATO GENERALE D’ITALIA BOSTON, MASSACHUSETTS Media Selling Fairy Tales? COMUNICATO STAMPA Not that long ago, during those riots in the REFERENDUM POPOLARI DEL 12 E 13 GIUGNO 2011 streets of Cairo, the liberal media was selling Con Decreto del Presidente della Repubblica n.
    [Show full text]
  • The Story So Far
    1. How Long (Ace) 2. Tempted (Squeeze) 3. Silent Running (Live) 4. When You Walk In The Room (Live) 5. The Living Years (2006 Version) 6. I Live On A Battlefield (with the Royal Philharmonic Orchestra) 7. Dedicated (2006 Version) 8. Over My Shoulder (Live from Abbey Road) 9. Love Will Keep Us Alive (Full Version) - Featuring Timothy B Schmit of the Eagles 10. Eyes Of Blue 11. Beautiful World 12. Satisfy My Soul 13. Groovin’ 14. Any Day Now 15. Where Did I Go Wrong? 16. It Ain’t Over 17. What A Wonderful World (with the SWR Big Band) PCARiT14. This Compilation P2014 Carrack-UK. g2014 Carrack-UK Unauthorised copying, reproduction, hiring, lending, public performance and broadcasting prohibited. All rights reserved. Unauthorised duplication is a violation of applicable laws. Paul Carrack-The Story So Far... In my own words 1. How Long Taken from the album Blue Views. Originally released by Ace in 1974 In 1973 I was sharing a one-room bedsit in Camden with my girlfriend (now my wife) Kathy. The band I’d been with for the last 5 years since leaving home and going on the road had finally returned from Germany broke after having our equipment stolen. I reluctantly got a job cleaning cars at Henley’s Cars for the princely sum of 42 pence an hour. When the initial novelty of doing ‘real work’ with overalls and everything, wore off (after about a week) I was thoroughly miserable, apart from the fact that Kathy and I were madly in love. At some point I got a call from Tex Comer, the bass player in the aforementioned band.
    [Show full text]