The BG News January 31, 1980
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Rob Mathes Flesh & Spirit
rob mathes Flesh & Spirit rob mathes Flesh & Spirit 1. Shoes (for Liu Xiaobo)*** 2. My Baby Still Does Me*** 3. Nightingale When You Fly +++ 4. Christ Came Back and Trashed The Cathedral +++ 5. Cinderella Leaves The Party +++ 6. (Don’t Try To Tell Me) I Can’t Go Home +++ 7. Maybe I’ll Go+++ 8. Man and Woman +++ 9. Why You Got To Be So Fine?*** 10. Paint The Windows Black +++ 11. Prelude At The Window +++ 12. Wonder*** Bonus track download ~ Where Are You, Mercy? Produced by Rob Mathes Mixed by Jamie Siegel at J Rock Studios Mastered by Scott Hull at Masterdisk Associate Producers: Beyond The Music Media Management by Crush Management--Jonathan Daniel and Jon Lullo ***Recorded by Dave O’Donnell with Elliot Scheiner at Avatar Studios, NY, NY (managed by Tino Passante) +++Recorded by Alex Venguer at Carriage House Studios, Stamford, CT (managed by Johnny Montagnese and Ian Callahan) C 2013 EMI Blackwood Music (BMI), Copyright Control and Maybe I Can Music (BMI). All Rights Reserved. Flesh and Spirit recording C 2013 Rob Mathes Music Inc. All Rights Reserved. rob mathes Flesh & Spirit n the summer of 2010, Joe Bonadio, a longtime colleague I’d lost touch with for many years, and I starting talking about recording live in the studio. What does live in the studio really mean?I Truly live is the way Sinatra, Howlin’ Wolf and Louis Armstrong used to do it; literally every note recorded at the same time with no exceptions or overdubs. Who does this now? Classical and jazz artists do it, of course. -
Title "Stand by Your Man/There Ain't No Future In
TITLE "STAND BY YOUR MAN/THERE AIN'T NO FUTURE IN THIS" THREE DECADES OF ROMANCE IN COUNTRY MUSIC by S. DIANE WILLIAMS Presented to the American Culture Faculty at the University of Michigan-Flint in partial fulfillment of the requirements for the Master of Liberal Studies in American Culture Date 98 8AUGUST 15 988AUGUST Firs t Reader Second Reader "STAND BY YOUR MAN/THERE AIN'T NO FUTURE IN THIS" THREE DECADES OF ROMANCE IN COUNTRY MUSIC S. DIANE WILLIAMS AUGUST 15, 19SB TABLE OF CONTENTS Preface Introduction - "You Never Called Me By My Name" Page 1 Chapter 1 — "Would Jesus Wear A Rolen" Page 13 Chapter 2 - "You Ain’t Woman Enough To Take My Man./ Stand By Your Man"; Lorrtta Lynn and Tammy Wynette Page 38 Chapter 3 - "Think About Love/Happy Birthday Dear Heartache"; Dolly Parton and Barbara Mandrell Page 53 Chapter 4 - "Do Me With Love/Love Will Find Its Way To You"; Janie Frickie and Reba McEntire F'aqe 70 Chapter 5 - "Hello, Dari in"; Conpempory Male Vocalists Page 90 Conclusion - "If 017 Hank Could Only See Us Now" Page 117 Appendix A - Comparison Of Billboard Chart F'osi t i ons Appendix B - Country Music Industry Awards Appendix C - Index of Songs Works Consulted PREFACE I grew up just outside of Flint, Michigan, not a place generally considered the huh of country music activity. One of the many misconception about country music is that its audience is strictly southern and rural; my northern urban working class family listened exclusively to country music. As a teenager I was was more interested in Motown than Nashville, but by the time I reached my early thirties I had became a serious country music fan. -
The Heart of Rock and Soul by Dave Marsh
The Heart of Rock and Soul by Dave Marsh 11 LOUIE LOUIE, The Kingsmen Produced by Ken Chase and Jerry Dennon; written by Richard Berry Wand 143 1963 Billboard: #2 Really stupid, really great. Not really dirty, but so what? "Louie Louie" is the most profound and sublime expression of rock and roll's ability to create something from nothing. Built up from a Morse code beat and a "dub duh dub" refrain, with scratchy lead vocal, tacky electric piano, relentless rhythm guitar, and drums that sound like the guy who's playing 'em isn't sure what comes next, "Louie Louie" scales the heights of trash rock to challenge the credentials of all latter-day rockers: If you don't love it, you've missed the point of the whole thing. Naturally, this Parthenon of Pop didn't spring from the head of the Muse. A Muse would probably have slain it on sight, or passed away herself from the shock of something so crude and fine. "Louie Louie" was born in much more prosaic circumstances, as the B side of "You Are My Sunshine," an R&B version of the Jimmie Davis country standard recorded by Richard Berry and the Pharoahs and released on Flip Records in 1956. Berry was a veteran Los Angeles session singer who'd sung lead on the Robins ' "Riot in Cell Block #9," the first big hit for producers Jerry Leiber and Mike Stoller. The Pharoahs were Berry's cohorts of the day, Flip his patron of the moment. "You Are My Sunshine" made only a small buzz but when L.A. -
1 When They Said Sit Down, I Stood Up
1 When They Said Sit Down, I Stood Up: Springsteen’s Social Conscience, Activism, and Fan Response Susan Hamburger, Ph.D. The Pennsylvania State University “Glory Days: A Bruce Springsteen Symposium” Monmouth University, West Long Branch, New Jersey September 9, 2005 Bruce Springsteen’s increasing politicization from supporting other musicians’ causes (No Nukes and Amnesty International) to social issues he personally embraces (food banks) inspires audiences to follow his lead with charitable causes. Whether donating food, money, or labor to community food banks, raising money for the Kristen Ann Carr Fund for cancer research, or saving the Tillie façade on Palace Amusements, Springsteen’s fans draw inspiration from his example. Yet dissention among fans arose when Bruce joined Vote for Change to actively campaign for John Kerry. This paper explores the interplay between Bruce’s activism and fan reaction. From singing at the No Nukes concerts to food bank exhortations from the stage to actively campaigning for John Kerry, Bruce Springsteen has consciously and thoughtfully selected the causes he supports and speaks out on behalf of. Although Bruce played at a benefit for presidential candidate, George McGovern in 1972, he did not involve himself in politics or causes, keeping a low profile. Beginning with the Musicians United for Safe Energy (M.U.S.E.) anti-nuclear benefit concerts, September 22-23, 1979, 2 filmed and released as No Nukes, Bruce’s association with grassroots activism and benefit concerts set the stage for his first phase of charitable work—showing up and playing music. By lending his musicianship to the benefit, Bruce implied that he supported the anti-nuclear movement yet he did not speak out on M.U.S.E.’s behalf either in the concert program or from the stage. -
A Chapter in Rock History Auringer’S Photos, Design Work Featured in CREEM Tribute Book
LapeerArea Thursday, December 13, 2007 VIEW Section C A chapter in rock history Auringer’s photos, design work featured in CREEM tribute book BY MIKE ARNHOLT from view. VIEW Editor CREEM has now been LAPEER — The resurrected publication this on a new month of a tribute website www. to the “golden age” creem maga- of rock ‘n’ roll, zine. com and Detroit style CREEM: with the new America’s Only Rock HarperCollins ‘n’ Roll Magazine, hit book by another bookstores across the former CREEM country with a strong photographer, local connection. Robert Matheu, Hadley native, Lapeer look of CREEM, and his along with Brian High 1964 grad and now J. Bowe. This col- VIEW Production Manager orfull hardcover Charlie Auringer was an coffeetable book integral part of CREEM for features historical its first 17 years. and I was reprints of stories, In 1964, Charlie left always too tired to party with covers and photos Lapeer and headed off to the the band.” from its beginning with com- Detroit to college at Wayne legendary Grande The years he spent at mentary from the editors and State. Ballroom, Olympia Stadium CREEM are a slice of history artists who were in CREEM He was caught up in the and Cobo Hall, including Jeff today, but at the time “We over the years. energy and excitement of Beck with Rod Stewart, Elvis were just having a lot of Charlie’s passion for design concerts by Bob Dylan, The and Cream, among others. fun,” Charlie says. remained, and he moved on Beatles and others. CREEM went national in His concert photos were to design Detroit’s alternative “It was the music that 1971 and Charlie pho- Auringer and two of his pho- electric, but he had fun with newspaper, Metro Times. -
Tanya Tucker
Tanya Tucker │Biography │ One of country music’s greatest legends, Tanya Tucker, has just released her much anticipated new CD, My Turn, on Saguaro Road Records. On this new album Tucker takes classic country songs originally recorded by the all time great male legends of the time and turns the tables, giving classics such as “You Don’t Know Me” and “Oh, Lonesome Me” a powerful reconstruction from a woman’s point of view. Only 13 when her provocative “Delta Dawn” caused a nationwide stir and became a Top 10 country hit, Tucker has built one of the most successful and compelling careers in music. Considered one of the very few females of the “outlaw” country movement, she holds a Grammy award, two Country Music Association awards, Two Academy of Country Music awards, and three CMT Awards. 23 of her albums have landed in the country Top 40 chart since her 1972 debut, and she has amassed 10 #1 country singles, 33 that have reached the Top 5, and 41 in the Top 10. Always reinventing herself, Tanya again became a media darling in 2005 as the star of her own television reality series, Tuckerville. The primetime series was a huge hit for TLC, generating the cable network’s highest Neilsen ratings ever, and guaranteed the show’s return in 2006. Having sold over 50 million records over the last three decades, country music icon Tanya Tucker is among the all-time best selling female vocalists in country music. “Surprisingly mature at a very young age, Tanya Tucker continues to grow today, taming and conquering tunes long assumed to be a man’s territory. -
Reviews Springsteen on Springsteen: Interviews, Speeches, and Encounters, Edited by Jeff Burger (Chicago: Chicago Review Press, 2014
91 Reviews Springsteen on Springsteen: Interviews, Speeches, and Encounters, edited by Jeff Burger (Chicago: Chicago Review Press, 2014. 432 pages). The published interview was not invented by music journalists—it was a staple of Paris Review and Playboy, to cite two antecedents before Rolling Stone came along in 1967—but this somewhat peculiar literary subgenre has always had a special significance in rock & roll. It emerged as a culturally distinctive magazine feature in the late 1960s and early 1970s, which is to say the moment when rock & roll became rock, when it shifted from a largely unselfconscious form of musical expression to a more cerebral, avowedly artistic, one. As in so many other ways, we mark our years AD: After Dylan. In its inaugural issue, Rolling Stone’s first interview subject was Donovan. But the patron saint (or, perhaps more accurately, sinner) of the form was Dylan: charismatic, elliptical, endlessly quotable. For musicians, journalists, and readers, the interview became an arena wherein the intellectual seriousness and philosophical ramifications of rock could be staked out and elaborated—generally free from the scrutiny of those (academics and other old people) who might regard the enterprise with amusement or ridicule. By the time Bruce Springsteen came along in the mid-seventies, the rock interview had already become a fixture not only of Rolling Stone, but also sister publications Creem and Circus, which were eagerly received by adolescents like myself as bulletins from faraway worlds that were simultaneously the locus of our inner lives. A not-quite-modest pronouncement from a reigning superstar would become a proposition we would ponder, test, and adopt as our own. -
All Audio Songs by Artist
ALL AUDIO SONGS BY ARTIST ARTIST TRACK NAME 1814 INSOMNIA 1814 MORNING STAR 1814 MY DEAR FRIEND 1814 LET JAH FIRE BURN 1814 4 UNUNINI 1814 JAH RYDEM 1814 GET UP 1814 LET MY PEOPLE GO 1814 JAH RASTAFARI 1814 WHAKAHONOHONO 1814 SHACKLED 2 PAC CALIFORNIA LOVE 20 FINGERS SHORT SHORT MAN 28 DAYS RIP IT UP 3 DOORS DOWN KRYPTONITE 3 DOORS DOWN HERE WITHOUT YOU 3 JAYS IN MY EYES 3 JAYS FEELING IT TOO 3 THE HARDWAY ITS ON 360 FT GOSSLING BOYS LIKE YOU 360 FT JOSH PYKE THROW IT AWAY 3OH!3 STARSTRUKK ALBUM VERSION 3OH!3 DOUBLE VISION 3OH!3 DONT TRUST ME 3OH!3 AND KESHA MY FIRST KISS 4 NON BLONDES OLD MR HEFFER 4 NON BLONDES TRAIN 4 NON BLONDES PLEASANTLY BLUE 4 NON BLONDES NO PLACE LIKE HOME 4 NON BLONDES DRIFTING 4 NON BLONDES CALLING ALL THE PEOPLE 4 NON BLONDES WHATS UP 4 NON BLONDES SUPERFLY 4 NON BLONDES SPACEMAN 4 NON BLONDES MORPHINE AND CHOCOLATE 4 NON BLONDES DEAR MR PRESIDENT 48 MAY NERVOUS WRECK 48 MAY LEATHER AND TATTOOS 48 MAY INTO THE SUN 48 MAY BIGSHOCK 48 MAY HOME BY 2 5 SECONDS OF SUMMER GOOD GIRLS 5 SECONDS OF SUMMER EVERYTHING I DIDNT SAY 5 SECONDS OF SUMMER DONT STOP 5 SECONDS OF SUMMER AMNESIA 5 SECONDS OF SUMMER SHE LOOKS SO PERFECT 5 SECONDS OF SUMMER KISS ME KISS ME 50 CENT CANDY SHOP 50 CENT WINDOW SHOPPER 50 CENT IN DA CLUB 50 CENT JUST A LIL BIT 50 CENT 21 QUESTIONS 50 CENT AND JUSTIN TIMBERLAKE AYO TECHNOLOGY 6400 CREW HUSTLERS REVENGE 98 DEGREES GIVE ME JUST ONE NIGHT A GREAT BIG WORLD FT CHRISTINA AGUILERA SAY SOMETHING A HA THE ALWAYS SHINES ON TV A HA THE LIVING DAYLIGHTS A LIGHTER SHADE OF BROWN ON A SUNDAY AFTERNOON -
CLOCKWISE from TOP LEFT Clarence Clemons in 1980; §Ruce Springsteen and Patty Scialfa; Nils Lofgren, Clemons, Springsteen, Stev
CLOCKWISE FROM TOP LEFT Clarence Clemons in 1980; §ruce Springsteen and Patty Scialfa; Nils Lofgren, Clemons, Springsteen, Steve Van Zandt, Max Weinberg, Scialfa, and Garry Tallent (from left), 2003; Clemons, Springsteen, Tallent, and Van Zandt (from left), 1980. AWARD FOR MUSICAL EXCELLENCE The E Street Band By Dave Marsh According to Bruce Springsteen, this house-rocking group of singular musicians has always expanded his line of vision - while creating the framework for the marathon live shows that have defined his career. Clarence Clemons Nils Lofgren Garry Tallent Patti Sci alfa David Sancious h e e s t r e e t b a n d h a s l a s t e d m o r e t h a n forty years with an independent and highly THIS PAGE, TOP individualized identity. The most essential The E Streeters in 1973: David Sancfc«s} albums of Bruce Springsteen’s career - ..Springsteen* Vt|4 *Maddog* .Lopez, Clemons, Danny T Bom to Run, Darkness on the Edge o f Town, The River, Fedeife^jiifid T a fle ri|M ite ft), Bom in the USA., The Rising - are built around the group. Yet only four albums and an EP, all live except an anthology, bear the group’s name on the spine. the most virtuosic, produced Lucinda Williams’ iconic You could say that the ESB is the greatest instru Car Wheels on a Gravel Road. Garry Tallent has been ment Springsteen plays. He recently said almost ex a mainstay of Nashville’s Americana scene for a cou actly that: “I write to live up to the band’s abilities ple of decades - as producer, instrumentalist, talent and power onstage. -
The Heart of Rock and Soul by Dave Marsh
The Heart of Rock and Soul by Dave Marsh 24 BORN TO RUN, Bruce Springsteen Produced by Bruce Springsteen and Mike Appel: written by Bruce Springsteen Columbia 10209 1975 Billboard: #23 Springsteen once said that after he'd come up with this maelstrom, he walked around for the next few days wondering where he'd stolen it from. Which makes sense because "Born to Run" has the audible ambition of recapitulating the first twenty-some years of rock and roll's public history, fusing a seven-layer Duane Eddy guitar lick with Dylanesque lyrics, Roy Orbison vocal histrionics, Spectorian production effects, Stones-style rhythm section, King Curtis sax break, and subterranean references to half-forgotten one-shot hits from "Little Star" to "Mountain of Love." Critic Greil Marcus once described it as "a '57 Chevy running on melted-down Crystals records," and only the part about the car was metaphor. Celebrated as Springsteen is for his lyrics, it's the music that makes "Born to Run. " The lyrics are still remarkable, sketching a philosophy of determined outward rebellion, a desire to move, a sense of goals and purpose that skirt the edges of the larger-than-life. But this hopeful abandon is tempered by an equally powerful melancholy; the future seems so bright largely because the present's so dismal. Truth to tell, Springsteen seems most vibrant when depicting the kids cruising the Jersey strip: "The girls comb their hair in rearview mirrors and the boys try to look so hard . Kids are huddled on the beach in a mist." From bar to bar. -
Graceland-National Historic Landmark Nomination
NATIONAL HISTORIC LANDMARK NOMINATION NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 GRACELAND Page 1 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 1. NAME OF PROPERTY Historic Name: Graceland Other Name/Site Number: 2. LOCATION Street & Number: 3764 Elvis Presley Boulevard (Highway 51 South) Not for publication: City/Town: Memphis Vicinity: State: Tennessee County: Shelby Code: 157 Zip Code: 38115 3. CLASSIFICATION Ownership of Property Category of Property Private: X Building(s): Public-Local: District: X Public-State: Site: Public-Federal: Structure: Object: Number of Resources within Property Contributing Noncontributing 11 1 buildings 2 sites 5 1 structures objects 18 2 Total Number of Contributing Resources Previously Listed in the National Register: Name of Related Multiple Property Listing: NPS Form 10-900 USDI/NPS NRHP Registration Form (Rev. 8-86) OMB No. 1024-0018 GRACELAND Page 2 United States Department of the Interior, National Park Service National Register of Historic Places Registration Form 4. STATE/FEDERAL AGENCY CERTIFICATION As the designated authority under the National Historic Preservation Act of 1966, as amended, I hereby certify that this ____ nomination ____ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property ____ meets ____ does not meet the National Register Criteria. Signature of Certifying Official Date State or Federal Agency and Bureau In my opinion, the property ____ meets ____ does not meet the National Register criteria. -
MC5 Back on Shakin' Street
MC5 Back On Shakin' Street Dave Marsh, Creem, October 1971 Their mamas all warned 'em not to come into town But they got it in their blood, now they gotta get down – 'Shakin' Street', The MC5 FEW ROCK'N'ROLL BANDS have been saddled with such import, right from the beginning, as the MC5. It's only fitting, because they approached the rock'n'roll scene with guns drawn, armed to the teeth; they were gonna take over, be the Baddest Boys in the Bad Boy world of rock and roll, fuse politics with rock, dope (read: religion), and fucking in the streets and market it all as one neat package, precisely labelled: The Revolution. They possessed roots all the way back to the Crusaders in the eleventh century, they were filled with real righteous American zeal, religious fervor, a sense of purpose and of necessity. This was the MC5, brothers and sisters, the hottest highest energy crew of dudes to come pouring out of the bad-assed Motor City into the American cultural continuum since the halcyon days of the notorious Purple Gang. And what's more: they meant business. Or so it seemed. Despite all the complications, as they say, the reception to their albums has been good, in many places as phenomenal as they knew all along it would be, as they were confident it HAD to be. Their live performances were another question though, especially in those early days. The Five's sets tended more towards flash'n'frenzy than anyone aside from the Who, and the problem was that there were numerous people in the dark days of the late sixties who just weren't ready for shock-rock.