Song Artist 25 Or 6 to 4 Chicago 5 Years Time Noah and the Whale A

Total Page:16

File Type:pdf, Size:1020Kb

Song Artist 25 Or 6 to 4 Chicago 5 Years Time Noah and the Whale A A B 1 Song Artist 2 25 or 6 to 4 Chicago 3 5 Years Time Noah and the Whale 4 A Horse with No Name America 5 Achy Breaky Heart Billy Ray Cyrus 6 Adelaide Old 97's 7 Adelaide 8 Africa Bamba Santana 9 Against the Wind Bob Seeger 10 Ain't to Proud to Beg The Temptations 11 All Along the W…. Dylan/ Hendrix 12 Back in Black ACDC 13 Bad Leroy Brown Jim Croce 14 Bad Moon Risin' CCR 15 Bad to the Bone George Thorogood 16 Bamboleo Gipsy Kings 17 Black Horse and… KT Tunstall 18 Born to be Wild Steelers Wheels 19 Brain Stew Green Day 20 Brown Eyed Girl Van Morrison 21 Chasing Cars Snow Patrol 22 Cheesburger in Para… Jimmy Buffett 23 Clocks Coldplay 24 Close to You JLS 25 Close to You 26 Come as you Are Nirvana 27 Dead Flowers Rolling Stones 28 Down on the Corner CCR 29 Drift Away Dobie Gray 30 Duende Gipsy Kings 31 Dust in the Wind Kansas 32 El Condor Pasa Simon and Garfunkle 33 Every Breath You Take Sting 34 Evil Ways Santana 35 Fire Bruce Springsteen Pointer Sis.. 36 Fire and Rain James Taylor A B 37 Firework Katy Perry 38 For What it's Worth Buffalo Springfield 39 Forgiveness Collective Soul 40 Free Bird Lynyrd Skynyrd 41 Free Fallin Tom Petty 42 Give me One Reason Tracy Chapman 43 Gloria Van Morrison 44 Good Riddance Green Day 45 Have You Ever Seen… CCR 46 Heaven Los Lonely Boys 47 Hey Joe Hendrix 48 Hey Ya! Outcast 49 Honkytonk Woman Rolling Stones 50 Hotel California Eagles 51 Hotel California 52 Hotel California Eagles 53 Hotel California 54 I Won't Back Down Tom Petty 55 I'll Be Missing You Puff Daddy 56 Iko Iko Dr. John 57 In the Midnight Hour Wilson Pickett 58 Jambalaya Hank Williams Sr 59 Keep Your Hands To… Georgia Satellites 60 Keep Your Head Up Andy Grammer 61 Kiss Me Sixpence None the Richer 62 Kiss Me Slowly Parachute 63 Kiss Me Slowly 64 Knockin' on Heaven's.. Bob Dylan 65 Knockin' on Heaven's.. Eric Clapton 66 Knockin' on Heaven's.. Guns N' Roses 67 Kryptonite 3 Doors Down 68 La Bamba Los Lobos 69 Last Dance with Mary.. Tom Petty 70 Lay Lady Lay Bob Dylan 71 Leave My Girl Alone Stevie Ray Vaughan 72 Leavin' on a Jet Plane Peter, Paul and Mary A B 73 Life by the Drop Stevie Ray Vaughan 74 Lights Journey 75 Little Wing Hendrix 76 Long Train Running Doobie Bros 77 Love Her Madly Doors 78 M.T.A. Kingston Trio 79 Marching Bands of…. Death Cab for Cutie 80 Margaritaville Jimmy Buffett 81 Michael Row the Boat… Pete Seeger 82 Monster Mash Bobby "Boris" Pickett 83 Mr. Jones Counting Crows 84 Night Moves Bob Seger 85 Not What You Wanted Black Rebel Motorcycle Club 86 Nothing Else Matters Metallica 87 One U2 88 Peaceful Easy Feelin' Eagles 89 Proud Mary Creedance Clearwater Revival 90 Rebel Rebel David Bowie 91 Redemption Song Bob Marley 92 Roadhouse Blues Doors 93 Rockin' the Free World Neil Young 94 Rocky Top Chet Atkins 95 Run Around Blues Traveler 96 Santa Monica Everclear 97 Say What! Stevie Ray Vaughan 98 Sittin' on the Dock…. Otis Redding 99 Smells like Teen Spirit Nirvana 100 Smoke on the Water Deep Purple 101 Smooth Santana 102 Stir it Up Bob Marley 103 Stuck in the Middle… Steelers Wheels 104 Sweet Home Alabama Lynyrd Skynyrd 105 Teach Your Children Crosby Stills Nash.. 106 Tell Mary Meg & Dia 107 Tell Mary 108 The Distance Bon Jovi A B 109 The House is Rockin Stevie Ray Vaughan 110 The Middle Jimmy Eat World 111 The One I Love R.E.M 112 The Weight The Band 113 Three Little Birds Bob Marley 114 Trouble Don't Last Buddy Guy 115 Up On Cripple Creek The Band 116 Use Somebody Kings of Leon 117 What I Wouldn't Do A Fine Frenzy 118 What's Up 4 Non Blondes 119 Who'll Stop the Rain CCR 120 Wild Thing The Troggs 121 Wimoweh Kingston Trio 122 Winter Winds Mumford and Sons 123 Wish You Were Here Pink Floyd 124 With My Own Two Hands Ben Harper 125 Wonderful Tonight Eric Clapton 126 Wreck of the Edmund Fitz.. Gordon Lightfoot 127 You Belong With Me Taylor Swift 128 You Can't Always Get… Rolling Stones C D 1 Chords 2 A5, G5, F#5, F5, E5 3 C, F, G, F OR G, C, D, C (capo 5) 4 Em,D69/F#, Em9, Dmaj9 5 A, E 6 Vs- G, D, Em, C Am, C, G 7 Ch- D, C, G (2x), G, D, C, Am, C, G, C, G 8 Am, E, Dm, G, F, A 9 G, Bm 10 C, F, G 11 Bm, A, G 12 E5, D5, A5 13 G A7 B7 C D7 14 D, A, G 15 G, C 16 F#m, Bm, C#7, A, E 17 Em, B7 Em, D, C Cadd9, C7 18 G, A, E, D 19 same as "25 or 6 to 4"with pitch raised 1/2 step 20 G, C, D, Em 21 A, E, D 22 Bm, A, G, D 23 Intro/ break - D/F#, Am/E, C/E, Em Vs - D, Am, C, Em 24 Vs - C, G, Fadd9 (2x), Am, G, Fsus2 25 Ch - C, G, Dsus4, Fadd9, C (2x), G Fadd9 26 Em, D, G, Am, C 27 D, A, G 28 C, G, F 29 B, F#, E, C#m 30 Bbm, Ab, Gb, F 31 C, CM7, Cadd9, Am9, Asus, Am, G, Dm7 32 Em, G, C 33 A, F#m, D, E, B7 34 Gm, C7, D7 35 Starts with "3 finger" G power chord then G/E 36 C, Dm, F, G7, Bb, Gm7 C D 37 G, Am, Em, C; Bridge- Em, C, G, D 38 A, E (C,D) 39 Em, B, C, G, D 40 G, D, Em, F, C, D, Dsus, Bb 41 D, G, G, D, Asus4 /no capo F, Bb, F, C 42 F#5, B5, C#5 43 E, D, A 44 G, Cadd9, Dsus4, Em7, Em 45 C G F Am 46 F#, G#m 47 C G D A E 48 G, C, D, Em, E 49 G, C, A, D 50 Vs: Em, B7, D, A, C, G, Am, B7 (Capo 7) 51 Ch: C G B7 Em C G Am B7 (Capo 7) 52 Vs: Bm F#7 A E G D Em F#7 53 Ch: G D F#7 Bm G D Em F#7 54 Em, D, G, C 55 (almost in tune) G, Em, C, D 56 D A7 (Bo Diddley beat) C between verses 57 D, B, A, G, E 58 C, G7 59 A5, A6, D5, D6, E5, E6 Follows Blues progression 60 Vs & Ch-Fmaj7, C, Am, G Pre-Ch- Em, F, G, G 61 C, CM7, C7, CM7 62 Vs - Em7, Dsus4/F#, G, G/B, Cadd9, Dsus4, D 63 Ch - Cadd9, G, Em7, Dsus2 64 G, D, Am7, G, D, C 65 G, D, Am 66 G, D, C, G, D, Am, G, D, C 67 B, G, A, E, F# 68 C, F, G 69 Am, G, D, Em, A, G 70 A, C#m, G, Bm 71 Am, Dm7, E7 72 A, E, D, F#m C D 73 A, E, D, F#m, D7 74 D, Bm, A, C, Em, G 75 Em, G, Am, Bm, C, F, D 76 Gm Cm Ebm D7 77 Am, D, C, F, D, E, G, A 78 A, D, E 79 VS- C, G, Dsus4/A, F Ch-Outro- Fmaj7, Fmaj7/D, C, Dsus2/A 80 D, A, D7, G 81 D, G, Bm, Em, A7 82 V:G Em Am D(D7) C:G Em C D(D7) 83 Am, F, Dm, G 84 V: G F C F C: Em D C D Capo 1st fret 85 vs- E, A, E, A, E Pre-Ch - (E), C#m, A Ch - (A), E, B, A, E, A 86 Em, D, Cadd9, C, A, B7 87 Am, D7, FM7, G6, C 88 E, A B7, F#m 89 C, A, G, F D 90 Dadd9, E, Bm, E 91 G, Em, C, Am, D or D7 92 E A B C 93 Em, D, C, G, A 94 C, F, G, Am, Bb 95 G, C, Dsus2, D, Am 96 Starts with "3 finger" G power chord then G/E 97 B, E, F# 98 G, B, C, B, Bb, A, G, E, G, Gb, F, E 99 F5, Bb5, Ab5, Db5 100 E, A, D, G, B, E 101 Am, E, Dm F Bm7(b5) 102 A,D,E 103 D G A 104 D, Cadd9, G 105 D, G, A, Bm 106 Vs- F#m, E, D(x4) Ch - A, Asus2, F#m, E, D(x2), Dsus2 107 Bridge - A5/E, E5, F#5, D5/A(x2), D5/A, E5, A5, A5/G#, D5/A, E5, A5 108 D, G, Bm, F C D 109 B E F#7 110 D, A, G 111 Em, D, C 112 A, C#m, D, E 113 A,D,E 114 A, D7, E7 115 A D E F#m G 116 Ch - C, C/E, F, F (x2), Am, C, F, F Bridge - D, F# (x2), B 117 Vs - D, G, D Ch - G, D, A, D Bridge - G, Em, D, A, G, D, A D 118 G, Am, C, G capo 2nd fret or without capo A, Bm, D, A 119 G Em Bm C D Em 120 A, D, E 121 G, C, D 122 Vs- G, D, Em, C Ch - C, G, C, G, D (x2), G 123 Em G D Am C 124 Am, G, F 125 G, D, Am, C, Bm, Am Em 126 Asus2, Em, G, D, Asus2 127 Vs & Ch-D, A, Em, G Pre-Ch- Em, G, D, A, Em, G, A, A 128 C, F, D .
Recommended publications
  • London Sinfonietta
    martedì 3 settembre 2002 ore 21 Teatro Regio London Sinfonietta HK Gruber, direttore Kurt Weill (1900-1950) Mahagonny, Songspiel Auf nach Mahagonny Alabama Song Wer in Mahagonny blieb Benares Song Gott in Mahagonny Aber dieses ganze Mahagonny Testi di Bertolt Brecht curati da David Drew Rievocazione della prima esecuzione avvenuta a Baden Baden nel 1927 con proiezione di bozzetti di Caspar Neher Coordinamento e libera ricostruzione delle proiezioni a cura di Gottfried Wagner JESSIE Linda Kitchen, soprano BESSIE Susan Bickley, mezzosoprano CHARLIE Ian Caley, tenore BILLY Christopher Gillett, tenore BOBBY Karl Daymond, baritono JIMMY Stephen Richardson, basso Canzoni da Happy End Testi originali in tedesco di Bertolt Brecht nella traduzione inglese di Michael Feingold; ordine di esecuzione di David Drew Prologue - Memories and Renovations Waltz - Bilbao Song Hellfire and Repentance Ballad of the Lily of Hell The Liquor Dealer’s Dream Brother, Give Yourself a Shove The Sailors’ Tango Youth and Experience In our Childhood Mandalay Song Surabaya Johnny Poverty and Riches March Ahead Lieutenant of the Lord Brother, give yourself a Shove (ripresa) Song of the Big Shot Hosannah Rockefeller Epilogue - Benedictions Don’t be Afraid In our Childhood (ripresa) Linda Kitchen, soprano Susan Bickley, mezzosoprano Karl Daymond, baritono Stephen Richardson, basso Ian Caley, Christopher Gillett, tenori Edward Beckett, flauto, ottavino Duncan Prescott, clarinetto David White, clarinetto, clarinetto basso Simon Haram*, sax contralto, clarinetto Christian Forshaw, sax tenore e basso, clarinetto Mark O'Keeffe, Bruce Nockles, trombe David Purser*, trombone Clio Gould*, Joan Atherton*, violini Steve Smith, chitarra, banjo Tracey Goldsmith, fisarmonica John Constable*, pianoforte, armonium Timothy Palmer, Joby Burgess, percussioni Ian Dearden, tecnico del suono * membri residenti Descritta da “The Independent” come «il campione pre-emi- nente della musica d’avanguardia…», la London Sinfonietta si è dedicata all’esecuzione ai massimi livelli della musica con- temporanea.
    [Show full text]
  • Rolling Stone Magazine's Top 500 Songs
    Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35.
    [Show full text]
  • Piano • Vocal • Guitar • Folk Instruments • Electronic Keyboard • Instrumental • Drum ADDENDUM Table of Contents
    MUsic Piano • Vocal • Guitar • Folk Instruments • Electronic Keyboard • Instrumental • Drum ADDENDUM table of contents Sheet Music ....................................................................................................... 3 Jazz Instruction ....................................................................................... 48 Fake Books........................................................................................................ 4 A New Tune a Day Series ......................................................................... 48 Personality Folios .............................................................................................. 5 Orchestra Musician’s CD-ROM Library .................................................... 50 Songwriter Collections ..................................................................................... 16 Music Minus One .................................................................................... 50 Mixed Folios .................................................................................................... 17 Strings..................................................................................................... 52 Best Ever Series ...................................................................................... 22 Violin Play-Along ..................................................................................... 52 Big Books of Music ................................................................................. 22 Woodwinds ............................................................................................
    [Show full text]
  • BO DIDDLEY's UNCONVENTIONAL 1950'S SOUND and ITS
    BO DIDDLEY’S UNCONVENTIONAL 1950’s SOUND AND ITS ANTICIPATION OF HIP HOP OVERVIEW ESSENTIAL QUESTION How were Bo Diddley’s recordings an anomaly in relation to 1950s Pop music, and how is his rhythm-driven sound and self-presentation a precursor to Hip Hop style? OVERVIEW From his first appearance on the Billboard R&B chart in 1955 and continuing over his five- decade career, Bo Diddley has been celebrated for the rhythm-driven, percussive sound of his ensemble, at the center of which was Diddley’s guitar playing. If by the Rock era the guitar solo became a symbolic centerpiece in recordings and performances, Diddley’s emphasis was always on the rhythm guitar. His approach didn’t revolve around the single- and double-note leads that came to dominate the music. Instead, Bo Diddley pioneered a sound that involved every member of his combo playing with a percussive sensibility. Rhythm was emphasized over melody, with a vocal style that often approximated Rap set against that rhythmic backdrop. Earlier even than James Brown, Diddley inadvertently pointed to a Hip Hop future. His best-known rhythm guitar pattern (three strokes/rest/two strokes, or “shave and a haircut, two bits”) influenced many. The “Bo Diddley beat,” as it came to be known, appeared on records by Buddy Holly, the Rolling Stones, Bruce Springsteen, U2, rapper B.o.B., and many others. In Bo Diddley’s own songs, the “Bo Diddley beat” was often combined with remarkably simple chord changes, as can be heard on his self-titled debut single, “Bo Diddley.” Throughout that single-chord song, which went to No.
    [Show full text]
  • A CHICAGO Tribute Band
    A CHICAGO Tribute Band “Close your eyes and you just might forget who it is you’re listening to.” A tribute within a tribute... OTA SHOW LIST 1ST SET Chicago is a rock-infused, horn-driven musical Beginnings powerhouse that has inspired generations of Question 67 & 68 professional musicians over the last 40 years. Some Just You & Me of the very best of those musicians found their way to central Florida and came together to form Orlando Color My World Transit Authority. OTA is a high-energy Chicago Feeling Stronger Every Day tribute show made up of A-list players who are, first Saturday in the Park and foremost, Chicago FANS. Founder Stan Allen and Old Days Musical Director Carl Dirkes hand-picked each member If You Leave Me Now of the band based on one simple criteria: The degree to Does Anybody Really Know What which he naturally sounds like the corresponding original Time it is member of Chicago. Any time you assemble players of this caliber, a great-sounding band is a given – but that wasn’t enough. OTA went one step further by seeking 2ND SET to emulate every stylistic nuance of the Chicago sound, Make Me Smile/More Than Ever both vocally and instrumentally. The vocal harmonies Spinning Wheel are right. The solos are right. The guitar sounds are God Bless the Child right. EVERYTHING is right. Close your eyes and you just I’ve Been Searching So Long might forget who it is you’re listening to. You’re the Inspiration Dialogue I & II If you are moved by the technical virtuosity and sheer Hard to Say I’m Sorry/Getaway power of the greatest horn bands in pop music history, you will LOVE Orlando Transit Authority.
    [Show full text]
  • Bullock Museum Announces This Year's Music Under the Star Concert
    FOR IMMEDIATE RELEASE MEDIA CONTACT Elizabeth Page | (512) 936-4607 [email protected] Bullock Museum announces this year’s Music Under the Star concert lineup Free summer concert series kicks off July 8 June 15, 2016 (AUSTIN, TX) — The Bullock Texas State History Museum, celebrating its 15th anniversary, has announced the 2016 lineup for its popular Music Under the Star July concert series, this year featuring The Midnight Stroll, Walker Lukens, Riders Against the Storm, Quiet Company, and a special performance by Grammy Award winners Los TexManiacs with special guest “Living Legend” Flaco Jiménez. “I’m very excited about this year’s lineup,” Bullock Museum Director of Film and Theaters Josh Jacobs said. “Working closely with Austin City Limits, we have come up with a fantastic series that represents some of the best in Texas talent.” The concerts are a favorite with visitors who like to bring camp chairs and blankets to relax on the shady Lone Star Plaza under the museum’s 34-foot bronze star sculpture and listen to their favorite Texas bands for three Friday nights in July. The free, family friendly concerts are held from 6 to 9 p.m. There is free parking at the museum, located at 1800 N. Congress Ave., and food and beverages will be available for purchase on-site. Kicking off the series July 8 is The Midnight Stroll, featuring Ghostland Observatory frontman Aaron Behrens and Jonas Wilson (previously from Lomita and White Lights) on guitar. Writing, recording, and rehearsing with a crack team of Austin musicians, The Midnight Stroll blends elements of soulful rock and heartfelt blues into a refreshing sound.
    [Show full text]
  • “Bo Diddley” and “I'm a Man” (1955)
    “Bo Diddley” and “I’m a Man” (1955) Added to the National Registry: 2011 Essay by Ed Komara (guest post)* Bo Diddley While waiting in Bo Diddley’s house to conduct an interview for the February 12, 1987 issue of “Rolling Stone,” journalist Kurt Loder noticed a poster. “If You Think Rock and Roll Started With Elvis,” it proclaimed, “You Don’t Know Diddley.” This statement seems exaggerated, but upon listening to Diddley’s April 1955 debut 78 on Checker 814, “Bo Diddley” backed with “I’m A Man,” it becomes apt, perhaps even understated. Bo Diddley (1928-2008) described his own place in music history to Loder. “People wouldn’t even bother with no stuff like ‘Bo Diddley’ and ‘I’m A Man’ and stuff like that ten years earlier [circa 1945] or even a year earlier [1954]. Then Leonard and Phil Chess decided to take a chance, and suddenly a whole different scene, a different kind of music, came in. And that was the beginning of rock and roll.” The composer credit for Checker 814 reads “E. McDaniels,” and there begins the tale. Bo Diddley was born Ellas Otha Bates in McComb, Mississippi on December 30, 1928 to a teenage mother and her local boyfriend. He was raised, however, by his maternal first cousin, Gussie McDaniel, to whom he was taken to Chicago, and given her surname McDaniel. He grew up on the South Side of the city, where he learned violin, trombone and, at age 12, the guitar. Before long, he was playing for change on the local streets.
    [Show full text]
  • PETER CETERA – Berlin, 07
    PETER CETERA – Berlin, 07. November 2018 – Verti Music Hall Text und Fotos: Holger Ott Vielleicht wird der Name PETER CETERA nicht jedem geläufig sein. Nennt man ihn aber im Zusammenhang mit seiner Ex- Band CHICAGO und hört man seine Songs, so dämmert es mit Sicherheit gewaltig. In den Siebzigern und Achtzigern war seine markante Stimme aus den Radios nicht wegzudenken und es jagte ein Nummer eins Hit den Nächsten. Heute gastiert er mit seinem Best Of Programm in der Verti Music Hall in Berlin. Wie wir vor einigen Tagen bereits feststellen konnten, hat diese neue Halle eine sensationelle Akustik. Gerade Künstlern wie CETERA kommt dieser Umstand sehr zugute, deshalb richte ich mich auf einen angenehmen und entspannten Abend ein. Die Setliste verrät mir, dass er aus den Vollen seiner Zeit bei CHICAGO schöpft. Zwei Drittel stammen aus dieser Epoche, der Rest besteht aus Kompositionen seiner Solo Karriere und Musik, die seinen Begleitmusikern am Herzen liegt. Diese dürfen sich dann auch in den jeweiligen Songs beweisen. Kleine Soli der jeweiligen Protagonisten, die aber nicht zu ausufernd sind, lockern das Programm zusätzlich auf. Herausragend dabei, seine Percussionistin, Background- Sängerin und Duettpartnerin aus Kanada. Die Dame hat eine umwerfende Stimme und hat ihren ersten Auftritt, als das CHER/CETERA-Cover "After All" angestimmt wird. PETER CETERA präsentiert sich als angenehmer, smarter Unterhalter und gibt zwischen seinen Gesangsdarbietungen immer wieder interessante Geschichten zum Besten, die sich weitestgehend um die Entstehung der Songs handeln. Manche etwas langatmig und bestimmt für viele im Saal mangels fehlender Englischkentnissen nur zum Teil zu verstehen. Seine Band, bestehend aus sieben Musikern und Musikerinnen, haben sich allesamt in Nashville einen Namen gemacht, in dem sie als Studiomusiker viele bekannte Produktionen begleitet haben.
    [Show full text]
  • Blues CD Reviews
    In This Issue... April Blues Bash: Son Jack, Jr. KBA Photographer Suzanne Swanson Dawn Tyler Watson (IBC First Place Band) (Photo by Daniel Sheehan) (Photo by Paul Brown) (Photo by Paul Brown) Letter from the President 2 Remembering James Cotton 6 Membership Opportunities 14 Letter from the Editor 3 April Blues Bash Preview 11 B Sharp Coffee House 15 Officers and Directors 4 Memphis Memo 12 Extended CD Review 16 On the Cover 4 New Venue: Cask & Trotter 14 Hawkeye Herman in Spokane! 17 Letter from Washington Blues Society President Tony Frederickson Kevin Sutton & the Blue Monday Band opening American Indian Chief and several bidders really Hi Blues Fans, the show and getting the crowd in a fevered pitch went to work on this item and provided as much that never let up the whole evening. We had many excitement as the music we had already heard. The This past month the Washington Blues Society, special guests throughout the show and the Blue silent auction closed and almost every item had Lee Oskar Harmonicas, and Anacortes Brewery Monday Band invited Jimmy Fadden to sit in multiple bids and displayed the generosity of those (H2O & Rockfish) sponsored the first of what we with them which raised the bar even higher. After in attendance. Our last special guest of the evening hope will be an annual fundraising event for the a brief break for a set change and live auction, was Mark Dufresne who led the Lee Oskar band Washington Blues Society’s Musician Relief Fund Bobby Holland & the Breadline took the stage with a few songs in memory of James Cotton, who at the Historic Everett Theater.
    [Show full text]
  • Learning Activities: Song #11 ~~ Don't-Be-Moody-Do-Yo
    LEARNING ACTIVITIES: ©GayeAdegbalola SONG #11 ~~ DON'T-BE-MOODY-DO-YO'-DUTY SONG FLAVOR: BO DIDDLEY BEAT • Maracas are musical instruments that sound likearattle. Many Bo Diddleysongs featurethesoundof maracas. (Don't know Bo? See below.) You can makeyour own maracas from recycled materials. Take 2 plastic water bottles. Make sure they are dry. Fill about 1/4 full of dried beans. Seal the lidswith tape. Getto shakin'! • This song is full ofopposites: open&close, down & up,on&off,right&wrong, borrow & return. Can you thinkofother opposites? Try to come up withatleast 10. Now try to makethem "action" wordslikedropping down &picking up or opening and closing. • When we try to think of ideas, an easy waytodo so is by brainstorming. Itis a way to solve problems bycomingup withas many ideas as possible. Youare encouraged to come up withnew, creative ideas without judgingwhether they are goodor bad, realistic or not. For example, think of 10 uses for anempty plastic bottle. Of course,weknow it can be used for holdingliquids, butitcan also be cut so that it can be used as a shovel, or for making maracas, or as a noise maker. Thelonger we think,usually the more interesting our ideas become. Here'sagood brainstorming exercise: Comeup with50uses forapaper clip. •Inthis song,we are singing about how to respondto a problem. Sometimespeople behave inunacceptable ways. For example, sometimes it is hard to ask people topick up somethingthey've droppedonthe ground. Many newspapers have an advice column. In this column,people write in toask advice about how to handle certain situations. Someofthese are about personal relations.
    [Show full text]
  • Extensions of Remarks E1807 HON. BOB FILNER
    September 16, 2003 CONGRESSIONAL RECORD — Extensions of Remarks E1807 change, you got to roll with the punches and set to sing ‘‘Bo Diddley,’’ Mr. Diddley said guitars—that evolved into a distinctive come up with something new.’’ that the show’s producers asked him to sing backbeat, described by music historians as Mr. Diddley is hardly shy about pro- Tennessee Ernie Ford’s ‘‘Sixteen Tons,’’ then the meter of ‘‘shave-and-a-haircut, two claiming his importance. ‘‘Have I been recog- a huge hit. Mr. Diddley claimed not to know bits.’’ In the background he added maracas, nized? No, no, no. Not like I should have it, so cue cards were quickly written. Mr. which he built from toilet-tank floats, giving been,’’ he said. ‘‘Have I been ripped off? Have Diddley said he thought he was now to per- the music a Latin texture, and he gave more I seen royalty checks? You bet I’ve been form two songs, not one, and he began with rhythm to the drum beat. The lyrics were ripped off.’’ ‘‘Bo Diddley.’’ Later he drawled, ‘‘Man, often delivered staccato, adding to the Mr. Diddley’s sense of grievance is justi- maybe that was ‘Sixteen Tons’ on those pounding rhythm. fied. Like many other musicians of the cards, but all I saw was ‘Bo Diddley.’’’ Sul- The Bo Diddley beat can be traced to West 1950’s, 60’s and earlier, white and black, he livan was enraged, Mr. Diddley recalled. Africa via Cuba. It is also firmly rooted in was exploited by record companies who took ‘‘He says to me, ‘You’re the first black African-American culture.
    [Show full text]
  • Here I Am Baby Al Green Let's Stay Together Al Green Don
    HERE I AM BABY AL GREEN LET’S STAY TOGETHER AL GREEN DON’T STOP BELIEVING JOURNEY ANY WAY YOU WANT IT JOURNEY GIVE IT TO ME BABY RICK JAMES SUPERFREAK RICK JAMES HOME MICHAEL BUBLE EVERYTHING MICHAEL BUBLE WORKING FOR THE WEEKEND LOVERBOY SHAKE YOUR BODY DOWN MICHAEL JACKSON BILLIE JEAN MICHAEL JACKSON BEAT IT MICHAEL JACKSON IT’S YOUR THING ISLEY BROTHERS SHOUT ISLEY BROTHERS BEAUTIFUL GIRL SEAN KINGSTON ALL NIGHT LONG LIONEL RICHIE LISTEN TO THE MUSIC DOOBIE BROTHERS LONG TRAIN RUNNING DOOBIE BROTHERS ISN’T SHE LOVELY STEVIE WONDER I WISH STEVIE WONDER FOR ONCE IN MY LIFE STEVIE WONDER SUPERSTITIOUS STEVIE WONDER SIR DUKE STEVIE WONDER REGGAE WOMAN STEVIE WONDER SIGNED SEALED DELIVERED STEVIE WONDER ANOTHER STAR STEVIE WONDER WHAT’S GOING ON MARVIN GAYE LET'S GET IT ON MARVIN GAYE FISHING IN THE DARK NITTY GRITTY DIRT BAND SATISFACTION ROLLING STONES HONKY TONK WOMAN ROLLING STONES AMERICAN BAND GRAND FUNK RAILROAD SOME KIND OF WONDERFUL GRAND FUNK RAILROAD DAYS LIKE THIS VAN MORRISON INTO THE MYSTIC VAN MORRISON CRAZY LOVE VAN MORRISON MOONDANCE VAN MORRISON TUPELO HONEY VAN MORRISON BROWN EYED GIRL VAN MORRISON THE WAY YOU LOOK TONIGHT FRANK SINATRA LOVELY DAY BILL WITHERS USE ME BILL WITHERS JUST THE TWO OF US BILL WITHERS SWEET CAROLINE NEIL DIAMOND BE YOUNG BE FOOLISH BE HAPPY THE TAMS YOU AND ME ROBERT BRADLEY AIN’T TOO PROUD TO BEG THE TEMPTATIONS MY GIRL THE TEMPTATIONS JUST MY IMAGINATION THE TEMPTATIONS HOW SWEET IT IS JAMES TAYLOR HEAVEN LOS LONELY BOYS YOU ARE SO BEAUTIFUL JOE COCKER AT LAST ETTA JAMES COULD YOU BE LOVED
    [Show full text]