Go Home Productions GHP Complete CD9 "The Bootlegs" 2007 Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Go Home Productions GHP Complete CD9 Go Home Productions GHP Complete CD9 "The Bootlegs" 2007 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop Album: GHP Complete CD9 "The Bootlegs" 2007 Country: UK Released: 2007 MP3 version RAR size: 1165 mb FLAC version RAR size: 1472 mb WMA version RAR size: 1363 mb Rating: 4.9 Votes: 437 Other Formats: AUD WAV XM VQF APE DXD MPC Tracklist Hide Credits Nightbeatle 1 3:11 Sounds – Daft PunkVocals – The Beatles Too Busy Thinking About The Angry Mob 2 3:18 Vocals – Kaiser Chiefs, Marvin Gaye, The Beatles Hung Phantom 3 2:40 Sounds – Goblin, Justice Vocals – Madonna Supreme Evil 4 3:05 Sounds – Electric Light OrchestraVocals – Michael Jackson, The Supremes Long Distance Good Luck Call 5 2:40 Sounds – PhoenixVocals – Basement Jaxx Pinochiohead On LSD 6 1:59 Sounds – RadioheadVocals – The Beatles Goodbye Rocky 7 1:50 Sounds – Bill ContiVocals – The Beatles Good Luck Babe, I'm Gonna Leave You 8 3:34 Sounds – Led ZeppelinVocals – Basement Jaxx Notes Total Audio Playing Time : 22:17 8 MP3 Collection for free download @ www.gohomeproductions.co.uk Styles : Mash-Ups / Bootlegs Related Music albums to GHP Complete CD9 "The Bootlegs" 2007 by Go Home Productions The Beatles - Los Beatles Beatles, The - With The Beatles Beatles, The - The Beatles Anthology Basement Jaxx - Basement Jaxx Vs. Metropole Orkest The Beatles - The Beatles First Go Home Productions - GHP Complete CD8 "The Bootlegs" 2006 The Beatles - Help with The Beatles Beatles, The - The Beatles EP The Beatles (rock'n pop 1) - The Beatles in Hamburg Beatles, The - The Beatles/1962-1966 Basement Jaxx - The Best Of Basement Jaxx Beatles, The - The Beatles.
Recommended publications
  • Songs by Artist 08/29/21
    Songs by Artist 09/24/21 As Sung By Song Title Track # Alexander’s Ragtime Band DK−M02−244 All Of Me PM−XK−10−08 Aloha ’Oe SC−2419−04 Alphabet Song KV−354−96 Amazing Grace DK−M02−722 KV−354−80 America (My Country, ’Tis Of Thee) ASK−PAT−01 America The Beautiful ASK−PAT−02 Anchors Aweigh ASK−PAT−03 Angelitos Negros {Spanish} MM−6166−13 Au Clair De La Lune {French} KV−355−68 Auld Lang Syne SC−2430−07 LP−203−A−01 DK−M02−260 THMX−01−03 Auprès De Ma Blonde {French} KV−355−79 Autumn Leaves SBI−G208−41 Baby Face LP−203−B−07 Beer Barrel Polka (Roll Out The Barrel) DK−3070−13 MM−6189−07 Beyond The Sunset DK−77−16 Bill Bailey, Won’t You Please Come Home? DK−M02−240 CB−5039−3−13 B−I−N−G−O CB−DEMO−12 Caisson Song ASK−PAT−05 Clementine DK−M02−234 Come Rain Or Come Shine SAVP−37−06 Cotton Fields DK−2034−04 Cry Like A Baby LAS−06−B−06 Crying In The Rain LAS−06−B−09 Danny Boy DK−M02−704 DK−70−16 CB−5039−2−15 Day By Day DK−77−13 Deep In The Heart Of Texas DK−M02−245 Dixie DK−2034−05 ASK−PAT−06 Do Your Ears Hang Low PM−XK−04−07 Down By The Riverside DK−3070−11 Down In My Heart CB−5039−2−06 Down In The Valley CB−5039−2−01 For He’s A Jolly Good Fellow CB−5039−2−07 Frère Jacques {English−French} CB−E9−30−01 Girl From Ipanema PM−XK−10−04 God Save The Queen KV−355−72 Green Grass Grows PM−XK−04−06 − 1 − Songs by Artist 09/24/21 As Sung By Song Title Track # Greensleeves DK−M02−235 KV−355−67 Happy Birthday To You DK−M02−706 CB−5039−2−03 SAVP−01−19 Happy Days Are Here Again CB−5039−1−01 Hava Nagilah {Hebrew−English} MM−6110−06 He’s Got The Whole World In His Hands
    [Show full text]
  • 2015 ICA Holiday Playlist
    ICA 2015 Holiday Playlist Track Time Artist Album Theme A Wild-Eyed Christmas Night 4:02 .38 Special A Wild-Eyed Christmas Night holiday fun Acid X-Mas 5:39 Acid Factor Acid X-Mas holiday fun Xmas Dick In A Box 2:57 A Plus D A Very Bootie Christmas 2 fun; remix O Come, All Ye Faithful (Album Version) 3:28 Abandon Kansas O Come, All Ye Faithful holiday pop Santa Baby (Remix) 3:35 Alexkid & DJ Seep A Very Bootie Christmas 2 fun; remix The Coventry Carol 3:24 Alison Moyet A Very Special Christmas, Vol. 1 holiday pop This Warm December, A Brushfire Holiday Let it Ride ALO (Animal Liberation Orchestra) 3:51 Vol. 8 outdoors What Child is This (w. Mary J. Blige) 4:30 Andrea Bocelli My Christmas memories The Wexford Carol 5:27 Andreas Vollenweider Hymn: A Musical Christmas Card memories Christmas in the City 4:36 Angie Martinez & Mary J. Blige A Very Special Christmas, Vol. 3 holiday pop Universal Child 4:14 Annie Lennox A Christmas Cornucopia holiday pop Feliz Navidad 2:26 Aqua Teen Hunger Force Have Yourself a Meaty Little Christmas humor What Child is This? 2:44 Arch Nemesiz Christmas in Diverse City a little something different Happy Holidaze (feat Bc Jean) 2:43 Astro Safari Astro Safari holiday rap Little Drummer Boy 3:07 Audio Adrenaline WOW Christmas (RED) fun; remix Little Drummer Boy 2:05 Bad Religion Christmas Songs holiday rock Are You Gonna Stop the White Xmas 4:11 Bad Tattoo A Very Bootie Christmas fun; remix This Warm December, A Brushfire Holiday Christmas Must Be Tonight 3:47 Bahamas Vol.
    [Show full text]
  • Mashup the Archive and Dividual Agency
    Mashup the Archive and Dividual Agency For Mashup the Archive at Iwalewahaus By Eduardo Navas October 22, 2015 Revised for publication: March 15, 2016 Online release: November 21, 2017 This text is different from others I have written. It is in part a transcription of a presentation I gave for a roundtable discussion at Bayreuth for the exhibit Mashup, on June 1, 2015.1 I expanded the basic transcription to revisit my definitions of remix. What is unique of this text is the elaboration of the remix diagram [Figure 1], which in the past I have included in different publications as a visual reference, but have not referred to directly as each term is discussed. Some of the material that follows below was not part of my actual presentation but is added to emphasize remix as a variable at play in Mashup the Archive. The last part of this essay, in particular, is based on the discussion that took place during our panel presentation. It is a reflection on questions about the future of the archive, and who can use it. The text itself, in a way, is a selective remix because its foundation is the transcription of my roundtable presentation to which I added and deleted selected material. This basic form of remix is explained further in what follows. Because of its hybrid format, the text may appear to go on brief tangents, or include comments that are normal in a conversation, but which may not be expected in a formal paper. This text effectively functions between spaces. It borrows from moments in time and makes the most of them to put into practice the theories upon which it reflects.
    [Show full text]
  • At a Recent Conference Panel (NCA 2009) On
    Preprint from Transgression 2.0: Media, Culture and the Politics of a Digital Age. Edited by Ted Gournelos and David J. Gunkel. New York: Continuum, 2011. 2 Audible Transgressions: Art and Aesthetics after the Mashup DAVID J. GUNKEL During a recent conference panel on mashups, remixes, and bootlegs (NCA 2009), one of the attendees asked what was initially termed an "innocent question." Although I cannot remember the exact wording, the gist of the inquiry concerned aesthetics: How can we decide whether a particular audio mashup is any good or not? What is it that separates a good mashup from a bad one? Or more pointedly, how can you tell whether something is a well-designed mashup as opposed to an accidental concatenation of materials simply thrown together? This line of questioning is, despite how it was initially presented, anything but "innocent." It is a crucial and insightful inquiry that asks us to reconsider long-standing assumptions about art, artistry, and aesthetic judgment. Attempts to respond to these kinds of questions often, and unfortunately, make the situation worse. In a 2009 YouTube promotional video for Club Bootie, proprietors and mashup/remix gatekeepers Adrian and Deidre Roberts (aka DJ A+D) offer the following assurances: "Mashup culture is that—it's kind of like the new punk rock. Anyone with a laptop and computer software can make a mashup. However, just cuz everyone can do it doesn't mean everyone should. And we will dig through so many mashups to find the good ones. And that's what Bootie really does; we showcase the best mashups in the world.
    [Show full text]
  • Classifiche 2007
    ===== ELEPHANT TALK ===== <http://www.burioni.it/forum/ridi/et/ethome.htm> rivista musicale elettronica diretta da Riccardo Ridi <[email protected]> vicedirettore Filippo Tagliaferri -------------------------------------------------- Anno XIII Numero 72 (23 Marzo 2008) -------------------------------------------------- INDICE - LE METACLASSIFICHE 2007 DI ET / di FT - LA METACLASSIFICA 2007 DEI REDATTORI E DEI LETTORI DI ET / a cura di FT - LA METACLASSIFICA 2007 DELLE ALTRE RIVISTE E SITI / a cura di FT - LE CLASSIFICHE 2007 DEI REDATTORI E DEI LETTORI DI ET / a cura di RR - LE CLASSIFICHE 2007 DELLE ALTRE RIVISTE E SITI (ITALIANI) / a cura di FT & RR - LE CLASSIFICHE 2007 DELLE ALTRE RIVISTE E SITI (STRANIERI) / a cura di FT & RR - NEON BIBLE: LA BIBBIA AL NEON DEGLI ARCADE FIRE / di Antonello Cacciotto - COWBOY JUNKIES: AT THE END OF PATH TAKEN / di Michele Santoro - HERMAN BROOD: L'OLANDESE SWINGANTE / di RR - RECENSIONI IN BRANDELLI 36 / di RR -------------------------------------------------- - LE METACLASSIFICHE 2007 DI ET / di Filippo Tagliaferri Negli ultimi tempi, su queste 'pagine', in sede di consuntivo di un'annata musicale, ci siamo sempre lamentati dell'eccessiva quantità di proposte, tutte di discreto livello medio, senza particolari picchi verso l'alto. L'impressione che avevamo, chi più chi meno, era insomma quella di un mercato piuttosto livellato, magari nemmeno troppo verso il basso, ma in cui era difficile individuare dischi (oddio, che termine fuori dal tempo!) che potessero avere le qualità se non tutti del capolavoro, ma che almeno si sarebbero potuti ricordare a lungo negli anni a venire. Attribuivamo anche la colpa ai nostro ascolti sempre più dispersivi, improntati ad una 'mentalità' del peer2peer. I risultati delle classifiche del 2007 sembrano dirci il contrario.
    [Show full text]
  • Regressive and Reflexive Mashups in Sampling Culture by Eduardo Navas
    Regressive and Reflexive Mashups in Sampling Culture By Eduardo Navas November 2009 This is a chapter contribution published in Sonvilla-Weiss, Stefan (Ed.) Mashup Cultures, 2010, ISBN: 978-3-7091-0095-0, Springer Wien/New York. Book was published in May 2010. During the first decade of the twenty-first century, sampling is practiced in new media culture when any software users including creative industry professionals as well as average consumers apply cut/copy & paste in diverse software applications; for professionals this could mean 3-D modeling software like Maya (used to develop animations in films like Spiderman or Lord of the Rings);1 and for average persons it could mean Microsoft Word, often used to write texts like this one. Cut/copy & paste which is, in essence, a common form of sampling, is a vital new media feature in the development of Remix. In Web 2.0 applications cut/copy & paste is a necessary element to develop mashups; yet the cultural model of mashups is not limited to software, but spans across media. Mashups actually have roots in sampling principles that became apparent and popular in music around the seventies with the growing popularity of music remixes in disco and hip hop culture, and even though mashups are founded on principles initially explored in music they are not straight forward remixes if we think of remixes as allegories. This is important to entertain because, at first, Remix appears to extend repetition of content and form in media in terms of mass escapism; the argument in this paper, however, is that when mashups move beyond basic remix principles, a constructive rupture develops that shows possibilities for new forms of cultural production that question standard commercial practice.
    [Show full text]
  • Journey Into Sound Radio Darmstadt - Radar 103,4 Mhz / Livestream: Live.Radiodarmstadt.De Artist Track Album Label Sendetermin
    On Air every months's first Thursday 2100 - 2300 CET Journey into Sound Radio Darmstadt - RadaR 103,4 MHz / Livestream: live.radiodarmstadt.de Artist Track Album Label Sendetermin !!! AM/FM Strange Weather, isn't it? Warp 01.07.2010 Individual Dance Safarai !!! Hello? Is this Thing on? Hello? Is this thing on? Warp 28.08.2004 Math on lone Beats !!! Hello? Is this Thing on? V/A Warp 02.12.2010 Warp20 (Elemental) Christmas Mix Vol. IX !!! Shit, Scheisse, Merde Pt.2 2 Tracks Clean Edits Warp 22.05.2004 A Doctor's Journey !!! Steady as the Sidewalk cracks Strange Weather, isn't it? Warp 02.09.2010 Sweet voodoo message music !!! Sunday 5:17 am Hello? Is this thing on? Warp 28.08.2004 Math on lone Beats !((OrKZa1 How to kill N'Sync How to kill N'Sync Commie 26.04.2003 Open word soundscapes (Read by) Andreas Pietschmann CD1 Carlos Ruiz Zafón - Der Schatten des Windes Hoffmann und Campe 05.07.2007 La Sombra del Viento (Read by) Andreas Pietschmann CD2 Carlos Ruiz Zafón - Der Schatten des Windes Hoffmann und Campe 05.07.2007 La Sombra del Viento (read by) Andreas Pietschmann Mpipidi und der Motlopi-Baum Nelson Mandela - Meine afrikanischen Hoffmann und Campe 29.05.2005 Lieblingsmärchen African Myths (read by) Christian Brückner Löwe , Hase und Hyäne Nelson Mandela - Meine afrikanischen Hoffmann und Campe 29.05.2005 Lieblingsmärchen African Myths (read by) Eva Mattes Die Schlange mit den 7 Köpfen Nelson Mandela - Meine afrikanischen Hoffmann und Campe 29.05.2005 Lieblingsmärchen African Myths (read by) Judy Winter Bescherung bei König Löwe Nelson Mandela - Meine afrikanischen Hoffmann und Campe 29.05.2005 Lieblingsmärchen African Myths (read by) Leslie Malton Die Mutter, die zu Staub zerfiel Nelson Mandela - Meine afrikanischen Hoffmann und Campe 29.05.2005 Lieblingsmärchen African Myths ..
    [Show full text]
  • En Klubb, Ett Band, En Livsstil
    Groove 8 • 2005 Amusement Parks on Fire sidan 5 Idoler finns överallt Tre frågor till Christian Kellvander s. 5 När löpsedlarna dagligen basunerar av dessa är de riktiga idolerna, de som Panikångest bakom skivspelarna s. 5 Omslags- ut att folk kollapsat i Idol-tävlan är inte riktigt har talangen men som foto Suburban Kids with Biblical names s. 6 förra årets egentlige vinnare redan på ändå vågar upp framför den obarm- Anton Är vi boskap? sidan 6 gång med nytt album. Småtjejernas härtiga juryn. Det skulle jag aldrig Corbijn vrål hörs återigen i alla Sveriges köp- våga själv! Hoppas bara de inser att Groove är en oberoende musiktidning, Bronco Busters sidan 7 center när killen som gett tandställ- just de kanske inte är menade att bli och ges ut av Musiktidning i Göteborg AB. Favvoplattan sidan 7 ningen ett ansikte gjort en uppföljare popidoler, men att de inte är värde- till vårvinterns The Anthem. Det gäl- lösa för det. Groove Yob sidan 8 ler att smida medan järnet är varmt. Men vissa ska ändå använda detta Box 112 91 CocoRosie sidan 8 Men Darin är nu ingen flopp, var- nederlag som tändvätska. De udda 404 26 Göteborg Thomas Denver Jonsson sidan 10 ken kommersiellt eller annars, fast och oslipade artisterna behövs mer Telefon 031–833 855 plattan gör honom inte heller till Sve- än nånsin när sångare i Darins klass Elpost [email protected] They Live by Night sidan 10 riges Justin – så bra är den inte. Även dessutom får uppbackning av dyra http://www.groove.se Cat5 sidan 11 om spåren Step up och framförallt producenter och stora skivbolag.
    [Show full text]
  • Creativity, Consumption, and Copyright in the Mashup Community
    Mashnography: Creativity, Consumption, and Copyright in the Mashup Community By Liam McGranahan B.A., San Francisco State University, 2003 A.M., Brown University, 2005 A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Program in Music: Ethnomusicology at Brown University Providence, Rhode Island May 2010 © 2010 Liam McGranahan This work is licensed under the Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-sa/3.0/us/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA. This dissertation by Liam McGranahan is accepted in its present form by the Department of Music as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date__________ ___________________________________ Kiri Miller, Advisor Recommended to the Graduate Council Date__________ ___________________________________ Wayne Marshall, Reader Date__________ ___________________________________ Marc Perlman, Reader Date__________ ___________________________________ Jeff Titon, Reader Approved by the Graduate Council Date__________ ___________________________________ Sheila Bonde, Dean of the Graduate School iii Curriculum Vitae Education 2010 Ph.D., Ethnomusicology, Brown University Dissertation: Mashnography: Creativity, Consumption, and Copyright in the Mashup Community, advised by Kiri Miller 2005 M.A., Music (Ethnomusicology), Brown University Master’s Thesis: A Survey of Garifuna Musical Genres with an Emphasis on Paranda, advised by Paul Austerlitz 2003 B.A., with honors, Anthropology, minor in World Music and Dance, San Francisco State University 1981 Born, July 31, Portland, OR Teaching and Professional Activities 2009 – 2010 Guest Teacher, African-American Studies, Lincoln High School, Portland, Oregon I am currently collaborating with head teacher Michael Sweeney to design and teach an African-American music unit in spring 2010.
    [Show full text]
  • Dj Noël Mix Catelogue
    dj noël mix catelogue chunky chocolate chip chill out groove – winter 1994 uncle bob – uncle bob’s burly house inner city – hallelujah age of love - age of love (detail - depeche mode – sea of sin remix) depeche mode – higher love – adrenaline mix drum club – u make me feel so good – deep n hard liason d – he chilled out system 7 – expansion – nutrious mix (detail – oprah winfrey show 8th feb ’94) (detail – bassheads c.o.d.e.s.) pet shop boys – can you forgive her – mk dub lentil lovecake – don’t deserve me (detail – 1pm bbc nw news) primal scream – come together – bbg remix one dove – white love – slam mix edit chaka khan - ain’t nobody – hallucinogenic mix studio mix – 30 Aug 95 Billy Ray Martin Billy Ray Martin Mone Jodeci EBTG The Original Space 2000 Brand New Heavies Mariah Carey update 1.1 – march 97 human league get carter future force what you want karmasutrafunkyexpress byron stingly get up (everybody) rhythmmastersdub/parademix wildchild jump to my beat toddedwardsjumpremix janet jackson runaway factorymix ann nesby witness mousset'sfunk2000mix whitney houston step by step k-klassicmix h²o featuring billie nobody's business eurovocal armand van helden the funk phenomena originalmix that kid chris feel the vibe theonlymix ninety nine all stars luv is all u need spacebaseremix faithless insomnia armand'seuropeanvacationmix lisa stansfield vs the dirty rotten scoundrels people hold on jonisthedonmix express of sound real vibration realclubmix ninety nine all stars luv is all you need originaldillon&dickensmix cool
    [Show full text]
  • Mash-Ups: a Collision of Creativity and the Law
    ___________________________ Mash-Ups: A Collision of Creativity and the Law __________________________ Adam Marcus Table of Contents Page Introduction..................................................................................................................................... 1 A Bundle of Rights ......................................................................................................................... 1 Sampling ......................................................................................................................................... 2 Slip-Cueing, Beatmatching, and Remixes ...................................................................................... 2 Mash-ups......................................................................................................................................... 4 Legal Troubles ................................................................................................................................ 5 Sampling Recordings...................................................................................................................... 7 Fair Use........................................................................................................................................... 8 Purpose and Character of Use................................................................................................... 9 Nature of Copyrighted Work .................................................................................................. 11 Amount/Substantiality
    [Show full text]
  • 'Stayin' Alive in Da Club'1: the Illegality and Hyperreality of Mashups
    Journal of the International Association for the Study of Popular Music doi:10.5429/2079-3871(2010)v1i2.8en : ‘Stayin’ Alive in Da Club’1 The Illegality and Hyperreality of Mashups Liam Maloy Institute of Popular Music, University of Liverpool [email protected] Abstract Mashups are a specific type of sample-based music where ‘new’ songs are created entirely from ‘old’ recordings. They contain no ‘original’ material and are the most overt examples of intertextuality in popular music. Vocal and instrumental parts are separated from musical backing through the process of ‘unmixing’. Many of these extracts circulate freely (and often anonymously) on the Internet awaiting recombination with other samples. Following a brief history of mashup pioneers and an overview of its key players, I utilise a range of theoretical approaches to raise questions about originality and the role of the author as it pertains to entirely-sampled music. Permeating the essay are considerations of modernism and postmodernism. I suggest that the collaging, self-referential, ahistoric, postmodernistic tendencies of mashup creation are tempered by the outward-looking, inclusive, modernistic tendencies of DJ culture. Key words: Mashups; sampling; hyperreality; intertextuality; collage. Introduction Every piece of music is composed of ideas from previous pieces of music. Mashups are just a bit more direct and honest about it. Originality is purely a matter of degree (Joel Roseman, 2007, p. xvii). For every artist, borrowing and stealing is your trade. It’s the way you regurgitate that borrowing and stealing that makes the difference (Rose from The Pipettes, quoted in Costa, 2007). Jake Shears from the Scissor Sisters is singing Take Your Mama (Universal, 2004) but the effect is decidedly unfamiliar.
    [Show full text]