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• the VILLANOVAN • October 31, 1973
,r"-^'^.Tr'l'7'^.*^ 'yr^P^'. 1/ iwi P»g« 16 • THE VILLANOVAN • October 31, 1973 ''.''' - NovmbT 7, 1973 • THE VILLANOVAN • Pag# 3 Page 2 • THE VILLANOVAN • November 7, 1973 Claude Lewis NEWS ANALYSIS Ih-y, INTERFUTURE Villanova Joins 'Continued from page 3) Slated To McCdrthy Clarifies dings with his campus and com- Interfuture Group munity through such means as a Teach Course Sherman Situation, senior thesis, talks to community assisting a or • 535 groups, creating A new program in higher Headquartered at ' Fifth By T. DIMAIO local project, or leading an ac- education was announced today at Avenue, Suite 3103, New York " EKiring the spring semester of credited seminar for other un- news conferences at eleven college City 10017, the organization is 1974, the Sociology Department Retrenchment Plans dergraduates. and university campuses across guided by a board of trustees com- will be offering the "Black Urban - the country. posed of businessmen, scholars, By JOE TYRRELL Experience", a course taught by Seminars have been given by In- Called InterFuture, for "in- educators, and InterFuture In a recent interview, Fr. McCarthy clarified the situation of the Claude Lewis. Photo by Kevin Sear Board of Trustees. Fr. James Sherman, chairman of the trustees, terFuture Scholars on such issues tercultural studies of the future," alumni. resigned from the Board some weeks ago, but the move was not publicly as urban-rural population Claude Lewis, a columnist for Uri Gcller talks to VILLANOVAN reporter Pat McNamara after his the program enables select un- Over thirty students have par- announced. balance, environmental action the Evening and Sunday Bulletin, October 31 appearance at the Field House. -
News Release
News release EMBARGOED UNTIL: 12 April 2017 Prog rock giants Pink Floyd honoured in naming of newly- discovered – and, yes, bright pink – pistol shrimp A strikingly bright pink-clawed species of pistol shrimp, discovered on the Pacific coast of Panama, has been given the ultimate rock and roll name in recognition of the discoverers’ favourite rock band – Pink Floyd. The conspicuously coloured pistol shrimp has been named as Synalpheus pinkfloydi in the scientific description of the species, published as open access in Zootaxa journal today (12 April). Just like all good rock bands, pistol shrimps, or snapping shrimps, have an ability to generate substantial amounts of sonic energy. By closing Synalpheus pinkfloydi. Image: Arthur Anker its enlarged claw at rapid speed the shrimp creates a high-pressure cavitation bubble, the implosion of which results in one of the loudest sounds in the ocean – strong enough to stun or even kill a small fish. Combined with its distinct, almost glowing- pink snapping claw, Synalpheus pinkfloydi is aptly named by the report’s authors, Arthur Anker of the Universidade Federal de Goiás in Brazil, Kristin Hultgren of Seattle University in If Synalpheus pinkfloydi had adorned the cover of Pink the USA, and Sammy De Grave, of Oxford Floyd's 1977 album Animals, rather than the famous dirigible pig. Image: Chris Jarvis University Museum of Natural History. De Grave, Head of Research at the Museum of Natural History in Oxford, has been a life-long Pink Floyd fan and has been waiting for the opportunity to name the right new species after the band. -
Dec. 22, 2015 Snd. Tech. Album Arch
SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London. -
GILLAN, IAN BAND Titolo Album: DVD - Live at the Rainbow 1977 Nazionalità: Inghilterra Etichetta: Angel Air Waves Anno Di Pubblicazione: 2006
Page 1 of 1 Autore: GILLAN, IAN BAND Titolo album: DVD - Live At The Rainbow 1977 Nazionalità: Inghilterra Etichetta: Angel Air Waves Anno di pubblicazione: 2006 Voto medio: 8 Recensito da Daniele Cutali Gli anni dell'interregno per l'urlatore porpora... Ian Gillan lasciò i Deep Purple nel 1973 proprio dopo la pubblicazione dell'acclamato album “Who Do We Think We Are?”, a causa di forti contrasti interni con il chitarrista Ritchie Blackmore. Il grande cantante urlatore formò una band tutta sua e quindi dopo tre anni pubblicò, nel 1976, il suo primo disco solista con essa. Quell'album adesso introvabile era “Child In Time” e contiene una splendida cover della famosa canzone dei Purple, meno hard rock, meno nervosa e drammatica, con un'inclinazione più sognante e malinconica eseguita con molti sapori progressivi. Esso segnò l'ascesa della prima formazione della Ian Gillan Band, rimarcata ancora nel 1977 dalla pubblicazione degli ottimi “Clear Air Turbulence” e “Scarabus”, entrambi nello stesso anno ed entrambi con un particolare mood jazzato, un groove alieno a ciò che Gillan ci aveva abituati nella sua band porpora, e con straordinarie parti sperimentali sottolineate da interventi di flauto e sax. Tutto ciò, appunto, era abbastanza fuori dalla norma per un cantante che proveniva direttamente dall'hard rock milieu, ma Gillan desiderava fortemente cambiare aria dal ruvido sound purpleiano così approdò all'esplorazione di spiagge quasi progressive. Poi nel 1978 cambiò di nuovo tutto facendo retromarcia e tornando verso i sicuri e redditizi lidi dell'hard rock inglese, cavalcando con arguzia ed esperienza il crescente successo della New Wave of British Metal costituita da Judas Priest, Saxon e Iron Maiden su tutti. -
Mill Valley Oral History Program a Collaboration Between the Mill Valley Historical Society and the Mill Valley Public Library
Mill Valley Oral History Program A collaboration between the Mill Valley Historical Society and the Mill Valley Public Library David Getz An Oral History Interview Conducted by Debra Schwartz in 2020 © 2020 by the Mill Valley Public Library TITLE: Oral History of David Getz INTERVIEWER: Debra Schwartz DESCRIPTION: Transcript, 60 pages INTERVIEW DATE: January 9, 2020 In this oral history, musician and artist David Getz discusses his life and musical career. Born in New York City in 1940, David grew up in a Jewish family in Brooklyn. David recounts how an interest in Native American cultures originally brought him to the drums and tells the story of how he acquired his first drum kit at the age of 15. David explains that as an adolescent he aspired to be an artist and consequently attended Cooper Union after graduating from high school. David recounts his decision to leave New York in 1960 and drive out to California, where he immediately enrolled at the San Francisco Art Institute and soon after started playing music with fellow artists. David explains how he became the drummer for Big Brother and the Holding Company in 1966 and reminisces about the legendary Monterey Pop Festival they performed at the following year. He shares numerous stories about Janis Joplin and speaks movingly about his grief upon hearing the news of her death. David discusses the various bands he played in after the dissolution of Big Brother and the Holding Company, as well as the many places he performed over the years in Marin County. He concludes his oral history with a discussion of his family: his daughters Alarza and Liz, both of whom are singer- songwriters, and his wife Joan Payne, an actress and singer. -
Hard Knocks Music Credits
(Cast) Maple Leaf Jazz Band Drums Roger Kennedy Bass Gary Dunbier Banjo John Withers Trombone Don Santin Trumpet Rob Green Alto sax Kim Rushworth Music Editor Zbigniew Friedrich Music Consultant Greg Pickhaver Hard Knocks Performed by Paul Kelly & the Dots Written by Kelly Published by Mushroom Courtesy of Mushroom Records Evie Part 1 Performed by Stevie Wright Written by Vanda/Young Published by Alberts Courtesy of Albert Productions Most People I Know Performed by Aztecs Written by Thorpe Published by Rock of Ages Courtesy of Havoc Records Who Listens To The Radio Performed by Sports Written by Cummings/Pendelbury Published by Antipodes/Mushroom Courtesy of Mushroom Records My Little Angel Performed by William Shakespeare Written by Vanda/Young Published by Alberts Courtesy of Albert Productions Take A Long Line Performed by Angels Written by Brewster/Neeson/Brewster Published by Alberts Courtesy of Albert Productions Where The Action Is Performed by John Paul Young Written by Vanda/Young Published by Alberts Courtesy of Albert Productions Birmingham Performed by John Paul Young Written by Vanda/Young Published by Alberts Courtesy of Albert Productions High Voltage Performed by AC/DC Written by Scott/Young/Scott Published by Alberts Courtesy of Albert Productions I Remember When I Was Young Performed by Matt Taylor Written by Matt Taylor Published by Mushroom Courtesy of Mushroom Records Breakfast at Sweethearts Performed by Cold Chisel Written by Walker Published by Rondor Courtesy of W.E.A. Records When The Heat's Off Performed by Richard Clapton Written by Richard Clapton Published by Gypsy Courtesy of Infinity Records High Class Women Performed by John St. -
Pink Floyd Amsterdam Coffeeshop
Pink floyd amsterdam coffeeshop Review of Amsterdam coffeeshop Pink Floyd, including atmosphere, pictures, contact, address, feeling and tips for visitors. Pink Floyd was a powerhouse of a coffeeshop in the good old daze of Amsterdam's 90's and naughties! Dampkring 2 is one of my favorite coffeeshops in Amsterdam for many reasons. It's still the same shop, still called Pink Floyd, but with the Dampkring menu. Years ago, Pink Floyd Coffeeshop was considered by many to be one of the best in all of Amsterdam. And while the quality of the service and. 2 reviews of Pink Floyd - CLOSED "This is my favourite coffee shop in the Recommended Reviews for Pink Floyd Best of Yelp Amsterdam – Coffee & Tea. Pink Floyd Coffeeshop. likes · 83 talking about this · were here. 64 Mohamed al Mokled st. right after AWLAD RAGAB Mostafa Alnahas themed. sitting at pink floyd coffeeshop amsterdam smoking. Coffeeshop Amsterdam is the best coffee shop in Amsterdam to truly experience the dutch cannabis culture. Modern interior with extensive menu & great music! Online menus from Coffeeshop Pink Floyd in Amsterdam Netherlands. Pink Floyd was bang opposite our hotel. it was our 1st and last stop . Went to Amsterdam twice and both times my first stop was the Pink Floyd Coffeeshop! great coffeshop! pink floyd album artwork all over the walls. very friendly staff,knowledgable weed men. One of the musts in the Amsterdam coffeeshop scene. then try Pink Floyd's Ummagumma. lol or Zappa on low.. if Dekuil turned it up There really aren't any coffee shops in the Amsterdam centrum and fringe areas. -
Escher's World of Wonder
Educators Resource Journey to Infinity: Escher’s World of Wonder Title: Journey to infinity: Escher’s World of Wonders Educators Resource Target Audience: An information package for educators interested in the exhibition Journey to Infinity: Escher’s World Of Wonder and the various additional programmes developed by ArtScience Museum’s Programmes Department. 1 Educators Resource Journey to Infinity: Escher’s World of Wonder Journey to Infinity: Escher’s World of Wonder is a fantastic opportunity to enjoy more than 150 original works from M.C. Escher, one of the world’s greatest graphic artists. Exploring the intersection between art, mathematics, science and poetry, Escher’s works have fascinated and astounded generations of artists, architects, mathematicians, musicians and designers alike. ArtScience Museum is dedicated to the playful exploration of the interconnection between art, science, technology and culture, and we look forward to sharing Escher’s unique and fascinating world with both school groups and educators. We are sure it will be the starting point for many interesting conversations about art, mathematics and history, about how nothing is what it seems. ArtScience Museum believes that some subjects are best understood by active construction and experimentation and by approaching subjects from unexpected perspectives. The exhibition itself is full of wonder, not just in the extraordinary artworks but also in the many playful activities that visitors can explore throughout the exhibition. The poetic symmetry of tessellations is understood on a large scale by physically moving huge puzzle pieces into place; the interconnectedness of baroque music and the notion of infinity are explored through papercraft and music boxes, and even the trained eye is tricked by larger than life optical illusions. -
31 July 2013 Ms Sabina Wynn the Executive Director Australian Law
31 July 2013 Ms Sabina Wynn The Executive Director Australian Law Reform Commission GPO Box 3708 Sydney NSW 2001 Dear Ms Wynn Submission by J. Albert & Son Pty Ltd (Alberts) in response to the ALRC’s “Copyright and the Digital Economy” Discussion Paper As Managing Director of Alberts , I welcome the opportunity to respond to the Discussion Paper. Alberts’ view Alberts is a family-owned company established by my great-great grandfather in 1885, the main business of which is the creation, protection and exploitation of music copyright. In its early days, Alberts’ copyright interests tended towards acquisition of local rights for overseas musical works. That changed in 1964 when Alberts established Albert Productions, an enterprise with the express purpose of being a developer and (in due course) exporter of music copyrights. Alberts went on to work with some of Australia’s most significant artists and writers including the Easybeats, the Angels, Rose Tattoo, John Paul Young and AC/DC. In association with Alberts, AC/DC has gone on to become one of the most successful rock bands of all time, and helped Alberts become a net-exporting Australian copyright owner. Alberts is a member of the following Australian copyright collecting societies and trade associations: AMPAL, APRA|AMCOS, ARIA and PPCA. I am aware that a number of these organisations, together with the Australian Copyright Council, have tendered submissions to the ALRC. Alberts is broadly supportive of those submissions and the information contained within them. Rather than restate their position, my aim is to provide a perspective from an independent family company that is actively engaged in the music business. -
Yoko Ono Albumi Lista (Diskografia & Aikajana)
Yoko Ono Albumi Lista (Diskografia & Aikajana) https://fi.listvote.com/lists/music/albums/unfinished-music-no.-1%3A-two-virgins- Unfinished Music No. 1: Two Virgins 777742/songs Wedding Album https://fi.listvote.com/lists/music/albums/wedding-album-631765/songs Unfinished Music No. 2: Life with the https://fi.listvote.com/lists/music/albums/unfinished-music-no.-2%3A-life-with-the-lions- Lions 976426/songs Yoko Ono/Plastic Ono Band https://fi.listvote.com/lists/music/albums/yoko-ono%2Fplastic-ono-band-507672/songs Season of Glass https://fi.listvote.com/lists/music/albums/season-of-glass-3476814/songs Feeling the Space https://fi.listvote.com/lists/music/albums/feeling-the-space-3067999/songs Approximately Infinite Universe https://fi.listvote.com/lists/music/albums/approximately-infinite-universe-1749449/songs Fly https://fi.listvote.com/lists/music/albums/fly-616152/songs Take Me to the Land of Hell https://fi.listvote.com/lists/music/albums/take-me-to-the-land-of-hell-15131565/songs Between My Head and the Sky https://fi.listvote.com/lists/music/albums/between-my-head-and-the-sky-4899102/songs Starpeace https://fi.listvote.com/lists/music/albums/starpeace-7602195/songs https://fi.listvote.com/lists/music/albums/it%27s-alright-%28i-see-rainbows%29- It's Alright (I See Rainbows) 3155778/songs A Story https://fi.listvote.com/lists/music/albums/a-story-2819918/songs Rising https://fi.listvote.com/lists/music/albums/rising-7336112/songs Yokokimthurston https://fi.listvote.com/lists/music/albums/yokokimthurston-8054655/songs Walking on Thin -
Risk Music Credits
composer Don Miller-Robinson Music Supervision Christine Woodruff Music Recorded at Big Bang Theory Trackdown Digital Engineered by Don Miller-Robinson & Damian Candusso Hammond, Fender Rhodes Stu Hunter Drums Hamish Stuart Bass Sam Dixon Analogue Synthesizers Alexander Nettelbeck Percussion Huey Benjamin Guitars, various instruments Don Miller-Robinson "Friday On My Mind" written by Harry Vanda/George Young. © 1966 J. Albert & Son Pty Ltd performed by The Easybeats, courtesy of Albert Productions "The Sound" written by Ash Hansen (control), performed by Rumanastone ℗ 2000 Mushroom Records Australia Pty Ltd, licensed from Festival Music Group "Whatever Makes You Happy" written by Ben Nash, Ivy League Music/Mushroom Music Publishing performed by 78 Saab, courtesy of Ivy League Records "Undecided" written by Michael Bower & Richard Morrison, Universal Music Publishing Pty Ltd performed by The Masters Apprentices, courtesy of Jim Keays "Hej" written by Harada/Skinner/Battah/Blackshaw published by Chatterbox Records Pty Ltd, performed by Skulker, ℗ 2000 Chatterbox Records Pty Ltd, Licensed from Chatterbox/Phantom Records "20th Century Boy" written by Marc Bolan, courtesy of Wizard (Bahamas) Limited licensed from Festival Music Pty Ltd, performed by Skulker ℗ 2000 Chatterbox Records Pty Ltd, Licensed from Chatterbox/Phantom Records "Naughty" written by Blackshaw/Skinner/Battah/Harada published by Chatterbox Records Pty Ltd, performed by Skulker, ℗ 2000 Chatterbox Records Pty Ltd, Licensed from Chatterbox/Phantom Records "Another Up" written -
Glam Rock by Barney Hoskyns 1
Glam Rock By Barney Hoskyns There's a new sensation A fabulous creation, A danceable solution To teenage revolution Roxy Music, 1973 1: All the Young Dudes: Dawn of the Teenage Rampage Glamour – a word first used in the 18th Century as a Scottish term connoting "magic" or "enchantment" – has always been a part of pop music. With his mascara and gold suits, Elvis Presley was pure glam. So was Little Richard, with his pencil moustache and towering pompadour hairstyle. The Rolling Stones of the mid-to- late Sixties, swathed in scarves and furs, were unquestionably glam; the group even dressed in drag to push their 1966 single "Have You Seen Your Mother, Baby, Standing in the Shadow?" But it wasn't until 1971 that "glam" as a term became the buzzword for a new teenage subculture that was reacting to the messianic, we-can-change-the-world rhetoric of late Sixties rock. When T. Rex's Marc Bolan sprinkled glitter under his eyes for a TV taping of the group’s "Hot Love," it signaled a revolt into provocative style, an implicit rejection of the music to which stoned older siblings had swayed during the previous decade. "My brother’s back at home with his Beatles and his Stones," Mott the Hoople's Ian Hunter drawled on the anthemic David Bowie song "All the Young Dudes," "we never got it off on that revolution stuff..." As such, glam was a manifestation of pop's cyclical nature, its hedonism and surface show-business fizz offering a pointed contrast to the sometimes po-faced earnestness of the Woodstock era.