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Smash Hits Volume 52
-WjS\ 35p USA $175 27 November -10 December I98i -HITLYRtCS r OfPER TROUPER TMCOMINgOUT EMBARRASSMENT MOTORHEAD NOT THE 9 O'CLOCK NEWS FRAMED BLONDIE PRINTS to be won 3 (SHU* Nov 27 — Dec 10 1980 Vol.2 No.24 ^gTEW^lSl TO CUT A LONG STORY SHORT Spandau Ballet 3 ELSTREE Buggies .....10 EMBARRASSMENT Madness 10 SUPER TROUPER Abba 11 I'M COMING OUT Diana Ross 17 BOURGIEBOURGIE Gladys Knight & The Pips 17 I LIKE WHAT YOU'RE DOING TO ME Young & Co ...23 WOMEN IN UNIFORM Iron Maiden 26 I COULD BE SO GOOD FOR YOU Dennis Waterman 26 SPENDING THE NIGHT TOGETHER Dr. Hook 32 LONELY TOGETHER Barry Manilow 32 TREASON The Teardrop Explodes 35 DO YOU FEEL MY LOVE Eddy Grant 38 THE CALL UP The Clash 38 LOOKING FOR CLUES Robert Palmer 47 TOYAH: Feature 4/5/6 NOT THE 9 O'CLOCK NEWS: Feature 18/19 UB40: Colour Poster 24/25 MOTORHEAD: Feature 36/37 MADNESS: Colour Poster 48 CARTOON 9 HIGHHORDSE 9 BITZ 12/13/14 INDEPENDENT BITZ 21 DISCO 22 CROSSWORD 27 REVIEWS 28/29 STAR TEASER 30 FACT IS 31 BIRO BUDDIES 40 BLONDIE COMPETITION 41 LETTERS 43/44 BADGE & CALENDAR OFFERS 44 GIGZ 46 Editor Editorial Assistants Contributors Ian Cranna Bev Hillier Robin Katz Linda Duff Red Starr Fred DeMar Features Editor David Hepworth Advertisement Manager Mike Stand Rod Sopp JiH Furmanovsky (Tel: 01-4398801) Mark Casto Design Editor Steve Taylor Assistant Steve Bush Mark Ellen Adte Hegarty Production Editor Editorial Consultant Publisher Kasper de Graaf Nick Logan Peter Strong Editorial and Advertising address: Smash Hits. -
Folk Song in Cumbria: a Distinctive Regional
FOLK SONG IN CUMBRIA: A DISTINCTIVE REGIONAL REPERTOIRE? A dissertation submitted in partial fulfilment of the degree of Doctor of Philosophy by Susan Margaret Allan, MA (Lancaster), BEd (London) University of Lancaster, November 2016 ABSTRACT One of the lacunae of traditional music scholarship in England has been the lack of systematic study of folk song and its performance in discrete geographical areas. This thesis endeavours to address this gap in knowledge for one region through a study of Cumbrian folk song and its performance over the past two hundred years. Although primarily a social history of popular culture, with some elements of ethnography and a little musicology, it is also a participant-observer study from the personal perspective of one who has performed and collected Cumbrian folk songs for some forty years. The principal task has been to research and present the folk songs known to have been published or performed in Cumbria since circa 1900, designated as the Cumbrian Folk Song Corpus: a body of 515 songs from 1010 different sources, including manuscripts, print, recordings and broadcasts. The thesis begins with the history of the best-known Cumbrian folk song, ‘D’Ye Ken John Peel’ from its date of composition around 1830 through to the late twentieth century. From this narrative the main themes of the thesis are drawn out: the problem of defining ‘folk song’, given its eclectic nature; the role of the various collectors, mediators and performers of folk songs over the years, including myself; the range of different contexts in which the songs have been performed, and by whom; the vexed questions of ‘authenticity’ and ‘invented tradition’, and the extent to which this repertoire is a distinctive regional one. -
Folk for Art's Sake: English Folk Music in the Mainstream Milieu
Volume 4 (2009) ISSN 1751-7788 Folk for Art’s Sake: English Folk Music in the Mainstream Milieu Simon Keegan-Phipps University of Sheffield The English folk arts are currently undergoing a considerable resurgence; 1 practices of folk music, dance and drama that explicitly identify themselves as English are the subjects of increasing public interest throughout England. The past five years have seen a manifold increase in the number of professional musical acts that foreground their Englishness; for the first time since the last 'revival period' of the 1950s and 60s, it is easier for folk music agents to secure bookings for these English acts in England than Scottish and Irish (Celtic) bands. Folk festivals in England are experiencing greatly increased popularity, and the profile of the genre has also grown substantially beyond the boundaries of the conventional 'folk scene' contexts: Seth Lakeman received a Mercury Music Awards nomination in 2006 for his album Kitty Jay; Jim Moray supported Will Young’s 2003 UK tour, and his album Sweet England appeared in the Independent’s ‘Cult Classics’ series in 2007; in 2003, the morris side Dogrose Morris appeared on the popular television music show Later with Jools Holland, accompanied by the high-profile fiddler, Eliza Carthy;1 and all-star festival-headliners Bellowhead appeared on the same show in 2006.2 However, the expansion in the profile and presence of English folk music has 2 not been confined to the realms of vernacular, popular culture: On 20 July 2008, BBC Radio 3 hosted the BBC Proms -
Dave Brubeck's Definitive “Jazzanians”
Journal of Jazz Studies vol. 9, no. 1, pp. 53-93 (Summer 2013) Dave Brubeck’s Definitive “Jazzanians” Vasil Cvetkov On December 5, 2012, American contemporary music lost one of its most important personalities—pianist and composer Dave Brubeck, who died one day before his 92nd birthday. His death marks the passing of one of the most creative and versatile musicians in American history. Widely known as an innovative jazz musician, Brubeck’s skills in writing and arranging music for classical ensembles went far beyond jazz traditions, making him a subject of interest and investigation for contemporary music researchers. He became an emblematic figure for those, who, like me, received a classical music upbringing and became fascinated by his ability to fuse jazz and classical sources into the specific style that eventually became his trademark. Despite having received a classical education, I have always been attracted by the jazz sound, so that discovering and demonstrating the plenitude of Brubeck's legacy became a natural research goal in my graduate studies. In planning this personal tribute to the late Dave Brubeck, I came to the conclusion that, perhaps, the most eloquent examples of his unique compositional style could be demonstrated around the story of a little tetrachord. Throughout a period of 17 years (1987-2003), it inspired Brubeck to create five important compositions and came to be known, by those who love Brubeck's music, as the “Jazzanians tetrachord.” The compositions varied in form, covering the full spectrum of jazz, classical, and fusion styles. I call these compositions “realizations.” Trying to trace Brubeck’s realizations chronologically through that 17- year period, I first examined published scores but discovered that there were mysterious gaps. -
The Twenty Greatest Music Concerts I've Ever Seen
THE TWENTY GREATEST MUSIC CONCERTS I'VE EVER SEEN Whew, I'm done. Let me remind everyone how this worked. I would go through my Ipod in that weird Ipod alphabetical order and when I would come upon an artist that I have seen live, I would replay that concert in my head. (BTW, since this segment started I no longer even have an ipod. All my music is on my laptop and phone now.) The number you see at the end of the concert description is the number of times I have seen that artist live. If it was multiple times, I would do my best to describe the one concert that I considered to be their best. If no number appears, it means I only saw that artist once. Mind you, I have seen many artists live that I do not have a song by on my Ipod. That artist is not represented here. So although the final number of concerts I have seen came to 828 concerts (wow, 828!), the number is actually higher. And there are "bar" bands and artists (like LeCompt and Sam Butera, for example) where I have seen them perform hundreds of sets, but I counted those as "one," although I have seen Lecompt in "concert" also. Any show you see with the four stars (****) means they came damn close to being one of the Top Twenty, but they fell just short. So here's the Twenty. Enjoy and thanks so much for all of your input. And don't sue me if I have a date wrong here and there. -
July 2016 Box Office: 01405 763652
February - July 2016 Image Theatre: The Railway Children (Saturday 2 April) Tickets available online at www.junctiongoole.co.uk Box Office: 01405 763652 @junction_goole | junction goole Welcome Welcome to our new season at Junction, featuring our trademark wide range of music, theatre, comedy, family events and local performers, representing the best on offer to our audiences. We’re excited to have launched our new membership scheme which will be of interest to our regular audience members or people keen to support their local theatre. All of Junction’s own professional live shows will be available at a discount ticket price and there are other benefits too. For fuller details, please see below. Among the bigger names we are delighted to welcome (or welcome back) this season, the hottest selling ticket is likely to be Northern Ballet Theatre’s Tortoise and the Hare. I saw the public premiere of this last October and it was the most enjoyable children’s ballet the company has produced. The mighty Snake Davis also returns with a new show, his Classic Sax Solos with a stunning set list of sax classics. For theatre fans, we have the only Yorkshire date for Big Telly’s stage adaptation of Spike Milligan’s hilarious book Puckoon, and are also trying our first presentation of live opera, from the Yorkshire based company, Radius. The season wraps up with a short festival devoted to guitar music, showcasing the amazing variety of music, genres and effects that can be drawn out of this versatile instrument when in expert hands. With a strong slate of satellite screenings (and more of these to be confirmed) and the monthly cinema programmes still to come, there’s something for everyone. -
The History of Rock Music: 1970-1975
The History of Rock Music: 1970-1975 History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) Sound 1973-78 (These are excerpts from my book "A History of Rock and Dance Music") Borderline 1974-78 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. In the second half of the 1970s, Brian Eno, Larry Fast, Mickey Hart, Stomu Yamashta and many other musicians blurred the lines between rock and avantgarde. Brian Eno (34), ex-keyboardist for Roxy Music, changed the course of rock music at least three times. The experiment of fusing pop and electronics on Taking Tiger Mountain By Strategy (sep 1974 - nov 1974) changed the very notion of what a "pop song" is. Eno took cheap melodies (the kind that are used at the music-hall, on television commercials, by nursery rhymes) and added a strong rhythmic base and counterpoint of synthesizer. The result was similar to the novelty numbers and the "bubblegum" music of the early 1960s, but it had the charisma of sheer post-modernist genius. Eno had invented meta-pop music: avantgarde music that employs elements of pop music. He continued the experiment on Another Green World (aug 1975 - sep 1975), but then changed its perspective on Before And After Science (? 1977 - dec 1977). Here Eno's catchy ditties acquired a sinister quality. -
BWTB Sept. 13Th 2015
1 2 Playlist Sept. 13th 2015 9AM/OPEN The Beatles - I’m Only Sleeping - Revolver (Lennon-McCartney) Lead vocal: John Written by John and Paul at Kenwood, John’s estate in Weybridge, in one writing session. Recording of the backing rhythm track began at 11:30 p.m. on April 27, 1966. John recorded his lead vocal on April 29. Both the vocal and backing track were recorded at variable speed. It was during the recording of “I’m Only Sleeping” that The Beatles discovered the “backwards guitar.” On May 5, 1966, as the band continued working on the song, George painstakingly transcribed the notes in his guitar solo and flourishes and then wrote them out backwards. He then played them in that reverse order. The tapes were then superimposed BACKWARDS in the mix, playing the solo notes and embellishments in the correct order, but maintaining the eerie backwards sound. “I’m Only Sleeping” was one of three songs issued in America six weeks prior to their official release in the UK. American and Canadian Beatles fans heard “I’m Only 3 Sleeping,” “And Your Bird Can Sing,” and “Doctor Robert” first on Capitol Records’ “Yesterday And Today” album, issued June 20, 1966. The rest of the world had to wait until the first week of August for them to appear on the “Revolver” LP. On U.S. album: Yesterday And Today - Capitol LP The Beatles - Fixing A Hole - Sgt. Pepper’s Lonely Hearts Club Band (Lennon-McCartney) Lead vocal: Paul On February 9, 1967, the Beatles recorded “Fixing A Hole” at Regent Sound Studio on Tottenham Court Road in London. -
Darryl Way – Vivaldi's Four Seasons in Rock
Darryl Way – Vivaldi’s Four Seasons In Rock (41:20, CD, Cherry Red Records- The Right Honourable Recording Company, 2018) Darryl Way dürfte den meisten Lesern durch sein Mitwirken bei Curved Air bekannt sein, oder auch durch seine Band Darryl Way’s Wolf (u.a. mit Ian Mosley. Auf dem Debütalbum von 1970 war er ebenso vertreten, wie auf den meisten Alben bis 1976 (auf dem 73er Album „Air Cut“ war an seiner Stelle ein gewisser Eddie Jobson aktiv). Bei „Alive 1990“ ist er noch einmal dabei, doch an der neuen Reinkarnation hat er nicht mehr teilgenommen. Zwar sind Curved Air nicht unbedingt in der allerersten Reihe der 70er Prog Dinos einzuordnen, doch sie konnten sich einen treuen Fankreis erarbeiten und erreichten durchaus einen gewissen Bekanntheitsgrad. Zu einem Herausstellungsmerkmal gehörte neben Frontfrau Sonja Kristina auch das prägnante Geigenspiel. Gleich auf dem Debütalbum „Air Conditioning“ ist ein Klassiker der Band zu finden, der seinerzeit auch zu den Höhepunkten ihrer Konzerte gehörte, nämlich der, logischerweise von Way arrangierte Titel ‚Vivaldi‘. He did it his way, sozusagen. Anscheinend stammt sein Arrangement aus dem Jahr 1968, denn im Booklet der vorliegenden CD steht geschrieben, dass sich Way pünktlich zum 50. Geburtstag seiner Klassik-Rock-Hymne an eine komplette Neueinspielung von Vivaldis „Die vier Jahreszeiten“ gewagt hat. Mit viel Respekt vor dem Original, das er für ein Beispiel musikalischer Perfektion hält, hat er sich vorgenommen, daraus eine Rock-Variante zu kreieren. Dabei hat er sich ganz bewusst sehr nah an der Vorlage bewegt, lediglich in langsameren Passagen hat er leichte Veränderungen zugelassen. Zum Schutz Ihrer persönlichen Daten ist die Verbindung zu YouTube blockiert worden. -
Adelaide Festival Centre Annual Report 2005-06
ADELAIDE FESTIVAL CENTRE ANNUAL REPORT 2005-06 18 September 2006 Adelaide Festival Centre King William Road ADELAIDE SA 5000 GPO Box 1269 ADELAIDE SA 5001 Telephone: (08) 8216 8600 Facsimile: (08) 8212 7849 Website: www.afct.org.au ABN: 90940 220 425 Contents Our Vision: ...........................................................................................................4 Our Mission is to: ..............................................................................................4 Introduction..........................................................................................................5 Highlights of 2005-06......................................................................................6 Chairman’s Report ...........................................................................................7 Chief Executive Officer’s Report ...............................................................9 Adelaide Festival Centre Trust Act 1971.............................................10 Trustees ..............................................................................................................11 The Objectives of Arts SA ..........................................................................12 The Objectives of the Adelaide Festival Centre Trust ..................12 Objective 1.........................................................................................................14 ENGAGE........................................................................................... 14 Education Program (CentrEd)...........................................................................15 -
Radio 4 Extra Listings for 15 – 21 May 2021 Page 1 of 10 SATURDAY 15 MAY 2021 Producer: Jill Waters Comedy Chat Show About Shame and Guilt
Radio 4 Extra Listings for 15 – 21 May 2021 Page 1 of 10 SATURDAY 15 MAY 2021 Producer: Jill Waters comedy chat show about shame and guilt. First broadcast on BBC Radio 4 in June 1998. Each week Stephen invites a different eminent guest into his SAT 00:00 Planet B (b00j0hqr) SAT 03:00 Mrs Henry Wood - East Lynne (m0006ljw) virtual confessional box to make three 'confessions' are made to Series 1 5. The Yearning of a Broken Heart him. This is a cue for some remarkable storytelling, and 5. The Smart Money No sooner has Lady Isabel been betrayed by the wicked Francis surprising insights. John and Medley are transported to a world of orgies and Levison than she is left unrecognisably disfigured by a terrible We’re used to hearing celebrity interviews where stars are circuses, where the slaves seek a new leader. train crash. persuaded to show off about their achievements and talk about Ten-part series about a mystery virtual world. What is to become of her? their proudest moments. Stephen isn't interested in that. He Written by Paul May. Mrs Henry Wood's novel dramatised by Michael Bakewell. doesn’t want to know what his guests are proud of, he wants to John ...... Gunnar Cauthery Mrs Henry Wood ... Rosemary Leach know what makes them ashamed. That’s surely the way to find Lioba ...... Donnla Hughes Lady Isabel ... Moir Leslie out what really makes a person tick. Stephen and his guest Medley ...... Lizzy Watts Mr Carlyle ... David Collings reflect with empathy and humour on things like why we get Cerberus ..... -
© Sex Pistols Sessions Spreadsheet © 2013 God Save the Sex Pistols Studio Sessions Spreadsheet
©www.sex-pistols.net Sex Pistols Sessions Spreadsheet ©www.sex-pistols.net 2013 God Save The Sex Pistols Studio Sessions Spreadsheet. Exclusive ©www.sex-pistols.net 2013 Date Version Super Deluxe SEXBOX1 This Is Crap No Future Spunk Swindle v3 Other CDs Track Time * Track Time * Track Time * Track Time * Track Time * Track Time * Track Time Detail * Chris Spedding Session – Majestic Studios, May 1976 Problems 15/05/1977 1–18 03:41 13 03:36 No Feelings 15/05/1977 1–20 02:42 14 02:42 Pretty Vacant 15/05/1977 1–19 02:44 15 02:45 Dave Goodman Session 1 – Denmark Street & Riverside Studios, July 1976 Pretty Vacant 13–30/07/76 2–01 03:53 1 1 03:29 14 03:30 Lazy Sod 13–30/07/76 1 02:08 2 02:07 1 02:09 Satellite 13–30/07/76 2 04:10 3 04:10 2 04:12 No Feeling 13–30/07/76 Single 2B 2–01 02:46 1–14 02:47 3 02:51 4 02:51 3 02:54 I Wanna Be Me 13–30/07/76 Single 1B –––– –––– 1–13 03:06 4 03:10 5 03:11 4 03:16 3 03:03 Anarchy CD Submission 13–30/07/76 2–02 04:08 5 04:17 6 04:16 5 04:17 Anarchy In The UK 13–30/07/76 21 03:58 7 03:59 13 03:59 Dave Goodman Session 2 – Lansdowne & Wessex Studios, October 1976 Anarchy In The UK 10–12/10/76 6 04:07 8 04:09 6 04:10 Anarchy In The UK 10–12/10/76 Mike Thorne Remix 2–03 04:05 2 04:04 Anarchy CD Substitute 10–12/10/76 2–04 03:10 10 03:06 2 No Lip 10–12/10/76 2–05 03:15 11 03:27 2 Stepping Stone 10–12/10/76 2–06 03:00 12 03:05 2 Johnny B Goode 10–12/10/76 2–07 01:44 3 02:34 2 Road Runner 10–12/10/76 2–08 04:10 4 03:39 2 Watcha Gonna Do About It 10–12/10/76 2–09 01:57 7 01:53 2 4 01:53 Vacant CD2 2 No Fun 10–12/10/76