Austin City Limits Presents an Hour with Willie Nelson Icon Returns to “The House That Willie Built” Broadcast Episode Premi
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Whiskey River (Take My Mind) I
whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams. -
1715 Total Tracks Length: 87:21:49 Total Tracks Size: 10.8 GB
Total tracks number: 1715 Total tracks length: 87:21:49 Total tracks size: 10.8 GB # Artist Title Length 01 Adam Brand Good Friends 03:38 02 Adam Harvey God Made Beer 03:46 03 Al Dexter Guitar Polka 02:42 04 Al Dexter I'm Losing My Mind Over You 02:46 05 Al Dexter & His Troopers Pistol Packin' Mama 02:45 06 Alabama Dixie Land Delight 05:17 07 Alabama Down Home 03:23 08 Alabama Feels So Right 03:34 09 Alabama For The Record - Why Lady Why 04:06 10 Alabama Forever's As Far As I'll Go 03:29 11 Alabama Forty Hour Week 03:18 12 Alabama Happy Birthday Jesus 03:04 13 Alabama High Cotton 02:58 14 Alabama If You're Gonna Play In Texas 03:19 15 Alabama I'm In A Hurry 02:47 16 Alabama Love In the First Degree 03:13 17 Alabama Mountain Music 03:59 18 Alabama My Home's In Alabama 04:17 19 Alabama Old Flame 03:00 20 Alabama Tennessee River 02:58 21 Alabama The Closer You Get 03:30 22 Alan Jackson Between The Devil And Me 03:17 23 Alan Jackson Don't Rock The Jukebox 02:49 24 Alan Jackson Drive - 07 - Designated Drinke 03:48 25 Alan Jackson Drive 04:00 26 Alan Jackson Gone Country 04:11 27 Alan Jackson Here in the Real World 03:35 28 Alan Jackson I'd Love You All Over Again 03:08 29 Alan Jackson I'll Try 03:04 30 Alan Jackson Little Bitty 02:35 31 Alan Jackson She's Got The Rhythm (And I Go 02:22 32 Alan Jackson Tall Tall Trees 02:28 33 Alan Jackson That'd Be Alright 03:36 34 Allan Jackson Whos Cheatin Who 04:52 35 Alvie Self Rain Dance 01:51 36 Amber Lawrence Good Girls 03:17 37 Amos Morris Home 03:40 38 Anne Kirkpatrick Travellin' Still, Always Will 03:28 39 Anne Murray Could I Have This Dance 03:11 40 Anne Murray He Thinks I Still Care 02:49 41 Anne Murray There Goes My Everything 03:22 42 Asleep At The Wheel Choo Choo Ch' Boogie 02:55 43 B.J. -
Waylon Jennings
TABLE OF CONTENTS 3 Introduction 4 About the Guide 5 Pre and Post-Lesson: Anticipation Guide 6 Lesson 1: Introduction to Outlaws 7 Lesson 1: Worksheet 8 Lyric Sheet: Me and Paul 9 Lesson 2: Who Were The Outlaws? 10 Lesson 3: Outlaw Influence 11 Lesson 3: Worksheet 12 Activities: Jigsaw Texts 14 Lyric Sheet: Are You Sure Hank Done It This Way 15 Lesson 4: T for Texas, T for Tennessee 16 Lesson 4: Worksheet 17 Lesson 5: Literary Lyrics 19 “London” by William Blake 20 Complete Tennessee Standards 22 Complete Texas Standards 23 Biographies 3-6 Table of Contents 2 Outlaws and Armadillos: Country’s Roaring ‘70s examines how the Outlaw movement greatly enlarged country music’s audience during the 1970s. Led by pacesetters such as Willie Nelson, Waylon Jennings, Kris Kristofferson, and Bobby Bare, artists in Nashville and Austin demanded the creative freedom to make their own country music, different from the pop-oriented sound that prevailed at the time. This exhibition also examines the cultures of Nashville and fiercely independent Austin, and the complicated, surprising relationships between the two. Artwork by Sam Yeates, Rising from the Ashes, Willie Takes Flight for Austin (2017) 3-6 Introduction 3 This interdisciplinary lesson guide allows classrooms to explore the exhibition Outlaws and Armadillos: Country’s Roaring ‘70s on view at the Country Music Hall of Fame and Museum® from May 25, 2018 – February 14, 2021. Students will examine the causes and effects of the Outlaw movement through analysis of art, music, video, and nonfiction texts. In doing so, students will gain an understanding of the culture of this movement; who and what influenced it; and how these changes diversified country music’s audience during this time. -
A Stylistic Analysis of 2Pac Shakur's Rap Lyrics: in the Perpspective of Paul Grice's Theory of Implicature
California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2002 A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature Christopher Darnell Campbell Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Rhetoric Commons Recommended Citation Campbell, Christopher Darnell, "A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature" (2002). Theses Digitization Project. 2130. https://scholarworks.lib.csusb.edu/etd-project/2130 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English: English Composition by Christopher Darnell Campbell September 2002 A STYLISTIC ANALYSIS OF 2PAC SHAKUR'S RAP LYRICS: IN THE PERSPECTIVE OF PAUL GRICE'S THEORY OF IMPLICATURE A Thesis Presented to the Faculty of California State University, San Bernardino by Christopher Darnell Campbell September 2002 Approved.by: 7=12 Date Bruce Golden, English ABSTRACT 2pac Shakur (a.k.a Makaveli) was a prolific rapper, poet, revolutionary, and thug. His lyrics were bold, unconventional, truthful, controversial, metaphorical and vulgar. -
LGA Podcast 1 Program Notes
The London Guitar Academy – Guitar club podcast 1 - program notes by Terry Relph-Knight, issue 1, 02/02/16 The sounds of the guitar – Part 1 A journey through the history of the guitar demonstrating the range of sounds now available to the modern guitarist. It is interesting to note that each type of guitar is closely associated with a certain style of music, the particular characteristics of each guitar type being best suited to certain styles, and the sound of each type has become inextricably linked with the tonality of these styles. Early guitars The guitar started life in Europe around the late 16th century as a small bodied 4 or 5 course instrument, a simpler alternative to the lute. The neck was short, with a long body and the scale length was relatively long at around 27 inches. The sound hole was usually covered by a parchment rose. These instruments, now referred to as the Baroque guitar https://en.wikipedia.org/wiki/Baroque_guitar, were played at court, or in intimate domestic settings, often as an accompaniment to a singer. They were strung with gut strings in pairs, or courses. The use of courses – string pairs or triplets – was an attempt to increase volume, which was a problem for plucked string instruments of the time. In fact the search for volume runs throughout the history of the guitar and has lead to the electric guitar. This is not just in an attempt to be heard. The benefit of a louder guitar is not just that it can be loud, but that it has a wide dynamic range and is more responsive to a players touch. -
The Big List (My Friends Are Gonna Be) Strangers Merle Haggard 1948 Barry P
THE BIG LIST (MY FRIENDS ARE GONNA BE) STRANGERS MERLE HAGGARD 1948 BARRY P. FOLEY A LIFE THAT'S GOOD LENNIE & MAGGIE A PLACE TO FALL APART MERLE HAGGARD ABILENE GEORGE HAMILITON IV ABOVE AND BEYOND WYNN STEWART-RODNEY CROWELL ACT NATURALLY BUCK OWENS-THE BEATLES ADALIDA GEORGE STRAIT AGAINST THE WIND BOB SEGER-HIGHWAYMAN AIN’T NO GOD IN MEXICO WAYLON JENNINGS AIN'T LIVING LONG LIKE THIS WAYLON JENNINGS AIN'T NO SUNSHINE BILL WITHERS AIRPORT LOVE STORY BARRY P. FOLEY ALL ALONG THE WATCHTOWER BOB DYLAN-JIMI HENDRIX ALL I HAVE TO DO IS DREAM EVERLY BROTHERS ALL I HAVE TO OFFER IS ME CHARLIE PRIDE ALL MY EX'S LIVE IN TEXAS GEORGE STRAIT ALL MY LOVING THE BEATLES ALL OF ME WILLIE NELSON ALL SHOOK UP ELVIS PRESLEY ALL THE GOLD IN CALIFORNIA GATLIN BROTHERS ALL YOU DO IS BRING ME DOWN THE MAVERICKS ALMOST PERSUADED DAVID HOUSTON ALWAYS LATE LEFTY FRIZZELL-DWIGHT YOAKAM ALWAYS ON MY MIND ELVIS PRESLEY-WILLIE NELSON ALWAYS WANTING YOU MERLE HAGGARD AMANDA DON WILLIAMS-WAYLON JENNINGS AMARILLO BY MORNING TERRY STAFFORD-GEORGE STRAIT AMAZING GRACE TRADITIONAL AMERICAN PIE DON McLEAN AMERICAN TRILOGY MICKEY NEWBERRY-ELVIS PRESLEY AMIE PURE PRAIRIE LEAGUE ANGEL FLYING TOO CLOSE WILLIE NELSON ANGEL OF LYON TOM RUSSELL-STEVE YOUNG ANGEL OF MONTGOMERY JOHN PRINE-BONNIE RAITT-DAVE MATTHEWS ANGELS LIKE YOU DAN MCCOY ANNIE'S SONG JOHN DENVER ANOTHER SATURDAY NIGHT SAM COOKE-JIMMY BUFFET-CAT STEVENS ARE GOOD TIMES REALLY OVER MERLE HAGGARD ARE YOU SURE HANK DONE IT WAYLON JENNINGS AUSTIN BLAKE SHELTON BABY PLEASE DON'T GO MUDDY WATERS-BIG JOE WILLIAMS BABY PUT ME ON THE WAGON BARRY P. -
Professional Troublemaker with Luvvie Ajayi Jones Love Saved Me (With Yvette Noel-Schure) - Episode 17 Released: April 27, 2021
Professional Troublemaker with Luvvie Ajayi Jones Love Saved Me (with Yvette Noel-Schure) - Episode 17 Released: April 27, 2021 Welcome to the Professional Troublemaker Podcast! This is the place where we help you cultivate the courage, authenticity and audacity you need to use your voice, take up space and live a life that is so bold, even your wildest dreams say #goals. I’m your host, Luvvie Ajayi Jones, New York Times bestselling author, sought after speaker and side-eye sorceress bringing you thought-provoking conversations with amazing people taken action, done scary things and rocked the boat to an audacious life. Like the late, great John Lewis said, these are the kind of people who are “Never, ever afraid to make some noise and get in good trouble, necessary trouble.” For our final Archive April episode, I’m re-sharing my interview with Yvette Noel-Schure, publicist to the stars. She is the person behind Beyoncé. She's been publicist to Prince, Mariah Carey, Adele, Wyclef Jean. Her resume is insane, but also, more importantly, she's just an amazing person. Her heart, her spirit, the way her smile lights up a room. Because she is one of the loveliest people on the planet, you may not think of her as a professional troublemaker, but she has created a reputation and career as a trusted partner, as the real g who moves in silence behind a lot of your favorite musicians. That takes the confidence to stand in who you are, even when your knees feel like they are shaking and to step up and do what you need to do when it needs to be done. -
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. -
Thomas Champagne Song List
THOMAS CHAMPAGNE SONG LIST Artist Song Champagne Sunshine Smilin Champagne Easy Reggae Champagne Coffee Table Champagne Sapo King Champagne Hwy Committee Champagne All that you do Champagne Down in Mississippi Champagne Another Woman Champagne Scotch and Water Champagne The Bear Song Champagne What it Takes Champagne White Linen Champagne Fire Water Champagne Mega Phone Champagne Smokin Joe Champagne I’m Tryin Champagne Fall in Love Champagne Half a Heart Champagne Jumpstart Champagne Soul Train Champagne Breakfast Champagne Seranade Champagne Halo Champagne Miss G Champagne Hold On Champagne Atlas Champagne Amnesia Champagne Hard Champagne 6.5 Champagne Slip Champagne Shade Champagne Oxygen Champagne and Rose, Irene Talk Champagne Wake Up Champagne True Romance Champagne Candy to Me Champagne and James, David Summer Bud Gist, Ryan Cures your Thirst Gist, Ryan Sun Flower Haywood Chics Dig Molin, Jason I can see you Marley, Bob Redemption Song Marley, Bob One Love Marley, Bob I Shot the Sheriff Marley, Bob 3 Little Birds Marley, Bob Waiting in Vain Marley, Bob Jammin Marley, Bob No Woman no cry Marley, Bob Small Axe Sublime Bad Fish 1 Sublime Don’t Push Sublime Santeria Sublime Jail House Toots and the Maytals 54-46 Toots and the Maytals Pressure Drop Donanvon Riki Tiki Tavi The Melodians Rivers of Babylon Elvis Costello Watching the Detectives The Commodores Easy Like a Sunday McFerrin, Bobby Don't Worry, Be Happy Ben Harper Steal my Kisses Ben Harper Burn One Down Ben Harper Forever Van Zandt, Towns Pancho and Lefty Williams, Hank Jambalaya -
Jennings Set
Harmony (Dukes to Sunday) 8/2/20 Jennings Set Dukes Makin' their way The only way they know how That's just a little bit more Than the law will allow Good H She's a good-hearted woman in love with a good timin' man She loves him in spite of his ways she don't understand Through teardrops and laughter, that pass through this world hand in hand A good hearted woman lovin' a good timin' man Lucken Let's go to Luckenbach, Texas With Waylon and Willie and the boys This successful life we're livin' Got us feuding like the Hatfields and McCoys Between Hank Williams' pain songs and Newbury's train songs and "Blue Eyes Cryin' in the Rain" Out in Luckenbach, Texas ain't nobody feelin' no pain Satisfy How many hearts must break, how many will it take To satisfy you, just to satisfy you Harmony (Dukes to Sunday) 8/2/20 Ramblin You'd better move away, You're standin' too close to the flame. Once I mess with your mind, Your little heart won't beat the same. Lord, I'm a ramblin' man, Don't mess around with any ol' ramblin' man. Babies Mamas, don't let your babies grow up to be cowboys Don't let 'em pick guitars or drive them old trucks Let 'em be doctors and lawyers and such Mamas don't let your babies grow up to be cowboys 'Cause they'll never stay home and they're always alone Even with someone they love Livin’ Ain't living long like this Can't live at all like this, can I baby? Amanda Amanda, light of my life Rainy Oh rainy day woman I never seem to see you for the good times or the sunshine You have been a friend of mine, rainy day woman Only D -
“The Stories Behind the Songs”
“The Stories Behind The Songs” John Henderson The Stories Behind The Songs A compilation of “inside stories” behind classic country hits and the artists associated with them John Debbie & John By John Henderson (Arrangement by Debbie Henderson) A fascinating and entertaining look at the life and recording efforts of some of country music’s most talented singers and songwriters 1 Author’s Note My background in country music started before I even reached grade school. I was four years old when my uncle, Jack Henderson, the program director of 50,000 watt KCUL-AM in Fort Worth/Dallas, came to visit my family in 1959. He brought me around one hundred and fifty 45 RPM records from his station (duplicate copies that they no longer needed) and a small record player that played only 45s (not albums). I played those records day and night, completely wore them out. From that point, I wanted to be a disc jockey. But instead of going for the usual “comedic” approach most DJs took, I tried to be more informative by dropping in tidbits of a song’s background, something that always fascinated me. Originally with my “Classic Country Music Stories” site on Facebook (which is still going strong), and now with this book, I can tell the whole story, something that time restraints on radio wouldn’t allow. I began deejaying as a career at the age of sixteen in 1971, most notably at Nashville’s WENO-AM and WKDA- AM, Lakeland, Florida’s WPCV-FM (past winner of the “Radio Station of the Year” award from the Country Music Association), and Springfield, Missouri’s KTTS AM & FM and KWTO-AM, but with syndication and automation which overwhelmed radio some twenty-five years ago, my final DJ position ended in 1992. -
Austin's Progressive Country Music Scene and the Negotiation
Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978 Travis David Stimeling A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements of the Doctor of Philosophy in the Department of Music. Chapel Hill 2007 Approved by: Jocelyn R. Neal, Chair Jon W. Finson David García Mark Katz Philip Vandermeer © 2007 Travis David Stimeling ALL RIGHTS RESERVED ii ABSTRACT TRAVIS DAVID STIMELING: “Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978” (Under the direction of Jocelyn R. Neal) The progressive country music movement developed in Austin, Texas, during the early 1970s as a community of liberal young musicians and concertgoers with strong interests in Texan country music traditions and contemporary rock music converged on the city. Children of the Cold War and the post-World War II migration to the suburbs, these “cosmic cowboys” sought to get back in touch with their rural roots and to leave behind the socially conservative world their parents had created for them. As a hybrid of country music and rock, progressive country music both encapsulated the contradictions of the cosmic cowboys in song and helped to create a musical sanctuary in which these youths could articulate their difference from mainstream Texan culture. Examining the work of the movement’s singer-songwriters (Michael Murphey, Guy Clark, Gary P. Nunn), western swing revivalists (Asleep at the Wheel, Alvin Crow and the Pleasant Valley Boys), and commercial country singers (Willie Nelson, Waylon Jennings), this dissertation explores the proliferation of stock imagery, landscape painting, and Texan stereotypes in progressive country music and their role in the construction of Austin’s difference.