FOSIL News & Views XVIII 3Rd December 2020
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Firifdt -5Z,Jit C$ V
8 RECORD MIRROR, Week ending January 9,1965 , firifdt -5z,Jit_c$ v. FLAMINGO & ALL MARQUEE CIS\111)ANW CLASSIFIED ADVERTISEMENTS NIGHTER CLUBS NtEtIU DEAD MONEY! Your old records 100A 90 WARDOUR ST., W.1. 33-37 Wardour St., London, W.I. itoAsT records for sale could fetch ff's! THAT DELETED Telephone: GER 8923 Gerrard 1549. Guests welcome RECORD BAZAAR, 50,000 from 2s. RECORDyouwant,couldstill Tony Harris & Rik Gunnell Write for lists,1142/6 Argyle Street, be obtainable, Buy "Pop -Shop" CLUB Thursday, January 7th (7.30-11) present: - Glasgow. 1139 Monthly,Is.,obtainableallnews- 00 (WORD ST, W.1 LONG JOHN BALDRY agents, or Is. 3d. from "Pop -shop," and the (RM) Heanor, Derbyshire. 1152 7.3010 11 p.m. Thursday17th) 7.30 - 11 p.m. (Sutipkf-Ric.i4Mot4o) HOOCHIE COOCHIE MEN SUE RECORDS APPRECIATION OPENING NITE SOCIETY. England's hippest and THURSDAY, January 7th ROD STEWART ALEXIS KORNER SOBITSblmio only authentic R & B Label. From songwriting and THE SOUL AGENTS MULESKINNERS James Brown to Homesick James. MUSIC WRITTEN/ARRANGED - GRAHAM BOND Friday, January 8th (7.30-11) Friday(8tln 7.30 - 11.30 p.m. Monthlynewsletters,biogs.and RIP 4299.8, Melford Avenue, Bark. FOOTPRINTS TONY COLTON Ng nix of artistes,records and 111g, Essex. 610. T-BONES FridayAll Night Session advancereleasesheetsmailed LYRICS WANTED by Music Pub- MULE SKINNERS 12 midnight - 6 a.m. direct,Send 5s.formembership lishing record- to: House - 11,St.Alban's alsoRadioLuxembourg RONNIE JONES 108 Cambridge Road, London, Avenue, London. W.4. 575 FRIDAY, January 8th ingof"Ready,Steady,Radio" PICKLED (FRP:4UENTLY1) N.W.6. -
Sound Recording in the British Folk Revival: Ideology, Discourse and Practice, 1950–1975
Sound recording in the British folk revival: ideology, discourse and practice, 1950–1975 Matthew Ord Submitted in fulfilment of the degree of PhD International Centre for Music Studies Newcastle University March 2017 Abstract Although recent work in record production studies has advanced scholarly understandings of the contribution of sound recording to musical and social meaning, folk revival scholarship in Britain has yet to benefit from these insights. The revival’s recording practice took in a range of approaches and contexts including radio documentary, commercial studio productions and amateur field recordings. This thesis considers how these practices were mediated by revivalist beliefs and values, how recording was represented in revivalist discourse, and how its semiotic resources were incorporated into multimodal discourses about music, technology and traditional culture. Chapters 1 and 2 consider the role of recording in revivalist constructions of traditional culture and working class communities, contrasting the documentary realism of Topic’s single-mic field recordings with the consciously avant-garde style of the BBC’s Radio Ballads. The remaining three chapters explore how the sound of recorded folk was shaped by a mutually constitutive dialogue with popular music, with recordings constructing traditional performance as an authentic social practice in opposition to an Americanised studio sound equated with commercial/technological mediation. As the discourse of progressive rock elevated recording to an art practice associated with the global counterculture, however, opportunities arose for the incorporation of rock studio techniques in the interpretation of traditional song in the hybrid genre of folk-rock. Changes in studio practice and technical experiments with the semiotics of recorded sound experiments form the subject of the final two chapters. -
Memories of Nick Drake (1969-70)
Counterculture Studies Volume 2 Issue 1 Article 18 2019 Memories of Nick Drake (1969-70) Ross Grainger [email protected] Follow this and additional works at: https://ro.uow.edu.au/ccs Recommended Citation Grainger, Ross, Memories of Nick Drake (1969-70), Counterculture Studies, 2(1), 2019, 137-150. doi:10.14453/ccs.v2.i1.17 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Memories of Nick Drake (1969-70) Abstract An account of Australian Ross Grainger's meetings with the British singer songwriter guitarist Nick Drake (1948-74) during the period 1969-70, including discussions at London folk clubs. Creative Commons License This work is licensed under a Creative Commons Attribution 4.0 International License. This journal article is available in Counterculture Studies: https://ro.uow.edu.au/ccs/vol2/iss1/18 Memories of Nick Drake (1969-70) Ross Grainger Nick Drake, 29 April 1969. Photograph: Keith Morris. I first met Nick Drake when I arrived in London after attending the Isle of Wight Pop Festival in 1969, which featured as its curtain-closer a very different Bob Dylan to the one I had seen in Sydney in March 1966. However, on thinking about it, Dylan’s more scaled down eclectic country music approach - which he revealed for the first time - kind of prepared me for what I was about to experience in London. The day after I arrived at my temporary London lodgings with friends living in Warwick Avenue, I went to Les Cousins in Greek Street. -
The Beatles on Film
Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964 -
{Dоwnlоаd/Rеаd PDF Bооk} Legends of Rock & Roll
LEGENDS OF ROCK & ROLL - SIMON & GARFUNKEL : AN UNAUTHORIZED FAN TRIBUTE PDF, EPUB, EBOOK James Hoag | 88 pages | 15 May 2020 | Independently Published | 9798644099559 | English | none Legends of Rock & Roll - Simon & Garfunkel : An unauthorized fan tribute PDF Book M , but it did not receive the success they hoped. The tribute dinner was for Mike Nichols, the same man who had asked the pair to feature in his film, The Graduate. This almost meant the end of the duo, but there was still one final straw before they called it a day. You can find them online at rmts. Choking On Lobster. Despite his previous outbursts, when the interviewer continued to try and press him for more details, this time he did not budge. This was their last performance together, and it seemed fitting that it was for a man who helped them grow and who they admired. This is where I was in This lineup broke up after only a few months due to hounding by U. That Thing You Do! The result is considered to be one of the finest '60s garage albums of all time. Their final album, a concept work about changing the universe, is one of the most underrated psychedelic albums. Top-notch set design and costuming paint the snappy tale of the one-hit Wonders. Written by efffee aol. Recorded with British blues godfather Alexis Korner in the early '60s. Watch the video. On the verge of disaster, one man was able to pull them all back together. Carol Kaye? The final performance came in at a tribute dinner. -
Addendum to the Second Printing
APPENDIX EIGHT ADDENDUM TO THE SECOND PRINTING Gordon Beck Quartet: BBC Sessions 1968 On 7 December 1967 the Gordon Beck Trio – from Samantha Blake at the BBC Written Archive a regular recording and performing unit with Centre, I investigated, using first the BBC Genome Gordon on piano, Jeff Clyne on bass and Tony online resource (vintage Radio Times listings) then Oxley on drums – added John McLaughlin on Gordon Beck’s BBC ‘artist file’ and the Programme- guitar and recorded Experiments With Pops, which as-Broadcast (PasB) files for relevant shows. While was released in January 1968. It is possible, from no musicians’ names appear in Gordon’s artist Melody Maker adverts, to identify four gigs around file for any of the various units with which he London by the ‘Gordon Beck Quartet’, with the broadcast during 1968 – and he was a frequent musicians named, between 17 March and 2 May visitor to BBC studios at the time – it seems clear 1968. There may have been others. There were, that John McLaughlin was the fourth member of though, plenty of Gordon Beck Trio gigs going on the Gordon Beck Quartet on a series of broadcasts in the same period and also Gordon Beck Quartet backing singers Mark Murphy and Joy Marshall, gigs involving saxophonist Pete King as the fourth for the programmes Night Ride, Late Night Extra member. and Jazz Club spanning March to May 1968. Somehow, during research for Bathed In Remarkably, around four hours of music (71 Lightning and again for Echoes From Then, I compositions) was recorded during the sessions failed to look into the possibility of any BBC with Mark Murphy – three hours 45 minutes recordings by the Gordon Beck Quartet. -
Répertoire 70 À 79
Adamo Sois heureuse Rose 1970 Adamo Va, mon bateau 1970 Adriano Celentano Chi non lavora non fa l'amore 1970 Al Green I can't get next to you 1970 Alain Barrière A regarder la mer 1970 Alain Barrière Rien qu'un homme 1970 Albert King Jailhouse rock 1970 Alive & Kicking Tighter tighter 1970 André Brasseur Atlantide 1970 André Brasseur How high the moon 1970 Anne Murray Snowbird 1970 Antoine Ratata 1970 Aphrodite's Child Spring, summer, winter & fall 1970 Aphrodite's Child Such a funny night 1970 Aretha Franklin Don't play that song 1970 Badfinger Come and get it 1970 Badfinger No matter what 1970 Barbara L'aigle noir 1970 Billy Preston My sweet Lord 1970 BJ Thomas Raindrops keep falling on my head 1970 Black Sabbath Paranoïd 1970 Blues Image Ride captain ride 1970 Bob Dylan Wigwam 1970 Bobby Sherman Easy come, easy go 1970 Bobby Sherman Julie do ya love me 1970 Bobby Sherman La la la [If I had you] 1970 Boby Lapointe Le troubadour 1970 Boby Lapointe Le tube de toilette 1970 Boby Lapointe Tchita la créole 1970 Bourvil & Jacqueline Maillan Ca 1970 Bourvil & Jacqueline Maillan Pauvre Lola 1970 Bread Make it with you 1970 Brian Hyland Gypsy woman 1970 Brigitte Bardot Tu veux ou tu veux pas 1970 Brook Benton A rainy night in Georgia 1970 Captain Beefheart Gordon' ape 1970 Carlos La reine du shopping 1970 Carlos Y a des indiens partout 1970 Carlos Jobim & Elis Regina Aguas de Março 1970 Cat Stevens Father and son 1970 Cat Stevens Lady d'Arbanville 1970 Chairman of The Board Give me just a little more time 1970 Charlotte Julian Tout le monde à -
“Covering” the Bluesman from a Distance
Introduction In many ways, my journey towards this thesis topic began with my brother’s music collection. Throughout my teens he would introduce me to a wide range of local and international acts, many of which were influenced by African-American blues artists. This influence is evident in both their construction of sound and the old songs that they rerecorded. From there I began tracing musical influences from song credits and interview excerpts—a path often travelled by musicians and fans alike—that would eventually lead me to an appreciation of blues music. The penultimate step towards this topic came in the form of my honours thesis—a creative project that involved rerecording several tracks from the catalogue of an early Australian country music artist, one of which was titled “Blue Mountain Blues”.1 From there I turned to blues music in Australia. Initially conceived as a history of “Australian blues”, it became apparent that this proposed sub-genre struggled to unify and explain the disparate musical styles contained therein. Although each artist was clearly addressing the musical characteristics and influences I had come to recognise as “blues music”, it all sounded different. In the meantime, I developed a keen interest in a fellow colleague’s thesis topic that addressed the role of “covers” within the Australian music industry (Giuffre, 2005). My epiphany—and catalyst for the current thesis topic—eventually presented itself while viewing a live performance from Peter Green Splinter Group. The concert was split into two courses: an acoustic entrée featuring several Robert Johnson “covers”; and, an electric main with side dishes of early Fleetwood Mac material—the band Green had help found many years ago. -
Rust Belt Blues a Dissertation Presented to the Faculty of the College of Arts and Sciences of Ohio University in Partial Fulfil
Rust Belt Blues A dissertation presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Alison A. Stine June 2013 © 2013 Alison A. Stine. All Rights Reserved. 2 This dissertation titled Rust Belt Blues by ALISON A. STINE has been approved for the Department of English and the College of Arts and Sciences by Dinty W. Moore Professor of English Robert Frank Dean, College of Arts and Sciences 3 ABSTRACT STINE, ALISON A., Ph.D., May 2013, English Rust Belt Blues Director of Dissertation: Dinty W. Moore Alison Stine’s Rust Belt Blues is a book-length work of linked creative nonfiction essays set in former manufacturing towns in Ohio, Indiana, and upstate New York. In pieces that range from autobiography to literary journalism, she focuses on abandoned places and people in the area known as the Rust Belt—a section of ex-industrial centers stretching from New York to Chicago—covering such topics as feral houses, graffiti, and the blues. She researches the Westinghouse factory that once employed a third of her hometown, explores a shuttered amusement park, re-visits a neglected asylum, and writes of rural poverty. In her critical introduction “The Abandoned Houses are All of Us: Toward a Rust Belt Persona,” Stine examines the work of contemporary nonfiction writers born in and / or concerned with the Rust Belt, finding that their work shares traits of deflection, obsession, lying, dark subject matter, and stubborn optimism—what she calls the defining characteristics of the emerging Rust Belt persona. -
Downbeat.Com June 2014 U.K. £3.50
JUNE 2014 U.K. £3.50 DOWNBEAT.COM JUNE 2014 VOLUME 81 / NUMBER 6 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [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, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom -
John Renbourn Fingerstyle Guitar Free
FREE JOHN RENBOURN FINGERSTYLE GUITAR PDF John Renbourn | 120 pages | 01 Jun 2000 | Mel Bay Publications,U.S. | 9780786650248 | English | Missouri, United States John Renbourn Fingerstyle Guitar by John Renbourn Over the years I have gigged and recorded with a fair number of guitars, most of which I thought were the best in the world at the time. Much as you cherish and try to look after them though things happen - they get stolen, damaged or simply worn out and eventually have to be replaced. Those that do survive are hard to part with and usually wind up hanging on the wall. In the mid sixties my guitar idol was Davey Graham. I heard through the grapevine that an American serviceman on an airbase had one for sale and I had to have it. It was a J, nearly the same as Davey's and that was it for the old Scarth - musical considerations overruled by blind fanaticism. I found out later that Davey wasn't playing his by choice, he had owned a very nice Martin, gone to a party and come away with the Gibson, possibly without realising it! However, for me, it was a transformation. From 'Another Monday' right through into Pentangle it did the job - both acoustic and amplified. The J has lasted well, only one major repair as I recall. The back was smashed, courtesy of an airline - guitars into Airlines do not go as I've learned to my cost over the years. It is now resting down in the south of France in the care of my old friend Remy Froissart. -
'There's a Sound of Many Voices in the Camp and on the Track' –
‘There’s a Sound of Many Voices in the Camp and on the Track’ A Descriptive Analysis of Folk Music Collecting in New Zealand, 1955-1975 Michael Brown A thesis submitted for the degree of Master of Arts in Music at Victoria University, Wellington New Zealand April 2006 i Abstract During the period from 1955 to 1975 a group of individuals began the task of collecting folk music in New Zealand. This collecting was different from the earlier collecting of Maori music – it focussed mainly on English-language material felt to be the folk heritage of New Zealanders of European descent. The collectors gathered a valuable body of songs, verse and music, which was used in a variety of ways. Many individuals promoted the material to a wider public by performing music, recording albums and publishing song anthologies. Other collectors commenced the scholarly study of folk traditions in New Zealand. This thesis is a descriptive analysis of the work of seven individuals involved in the overall effort: Angela Annabell, Rona Bailey, Les Cleveland, Neil Colquhoun, Frank Fyfe, Phil Garland and Herbert Roth. It seeks to understand the enterprise from their point of view: how they conceived of ‘folk music’; their collecting methods; and the ways in which they promoted or studied what they had collected. To help situate and compare the achievement of each individual, their work is placed within the wider contexts of overseas folkloristic research, related study in New Zealand and the folk revival movement. The collecting in New Zealand was relatively short-lived but brought together a recognised canon of folk music.