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The Dave Clark Five Can't You See That She's Mine Mp3, Flac, Wma
The Dave Clark Five Can't You See That She's Mine mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Can't You See That She's Mine Country: Norway Released: 1964 Style: Pop Rock MP3 version RAR size: 1823 mb FLAC version RAR size: 1235 mb WMA version RAR size: 1457 mb Rating: 4.2 Votes: 631 Other Formats: AA XM FLAC AC3 AU MIDI MMF Tracklist A Can't You See That She's Mine B Because Credits Producer – Adrian Clark Written-By – Clark*, Smith* (tracks: A) Notes Made in Norway Other versions Category Artist Title (Format) Label Category Country Year The Dave Clark Can't You See That She's DB 7291 Columbia DB 7291 Netherlands 1964 Five Mine / Because (7", Single) The Dave Clark OR-1140 Because (7", Single) Odeon OR-1140 Japan 1964 Five The Dave Clark Can't You See That She's DO-4483 Columbia DO-4483 Australia 1964 Five Mine (7", Single) The Dave Clark Can't You See That She's DNZ.10349 Columbia DNZ.10349 New Zealand 1964 Five Mine (7", Single) The Dave Clark Can't You See That She's DB 7291 Columbia DB 7291 India 1964 Five Mine (7") Related Music albums to Can't You See That She's Mine by The Dave Clark Five The Dave Clark Five - Everybody Knows The Dave Clark Five - You Got What It Takes / Sitting Here Baby The Dave Clark Five - Everybody Get Together The Dave Clark Five - Tabatha Twitchit The Dave Clark Five And The Playbacks - The Dave Clark Five And The Playbacks The Dave Clark Five - No Ves Que Es Mia? (Can't You See That She's Mine?) The Dave Clark Five - 5 By 5 The Dave Clark Five - Because. -
Please Be Aware That This Play Is Fully Protected by Copyright
Trying to Get to You 1 PLEASE BE AWARE THAT THIS PLAY IS FULLY PROTECTED BY COPYRIGHT All plays, books, music and other materials published by Heartland Plays, Inc. are fully protected under the copyright laws of the United States of America and all countries which the United States has reciprocal relations including, but not limited to all countries covered by the Pan-American Copyright Convention, The Universal Copyright Convention and the Berne Convention. All rights to the plays and materials on our website are strictly reserved including, and without limitation, professional and amateur performance rights; motion pictures; public reading; radio and television broadcasting; audio and video recording and reproduction of any type known or yet to be invented; information storage and retrieval systems of any type known or yet to be invented; and the rights of translation into any and all languages. No individual or organization whether amateur or stock may perform this or any play published by Heartland Plays, Inc. without first obtaining advance permission from Heartland Plays, Inc. and paying the appropriate fees including Royalties and Single-Use Copyright fees. Heartland Plays, Inc. collects royalties on behalf of the Playwrights whose plays it publishes. Unauthorized copying, transcribing or reproduction of this or any play or excerpt, or storage or transmittal in any form and by any means whether known or yet to be invented, is strictly forbidden except as provided by Agreement with Heartland Plays, Inc. Any unauthorized use is a violation of copyright laws and will be prosecuted to the fullest extent of the law. FIVE SIMPLE RULES TO REMEMBER 1. -
In Theopinion of Theeditors, This Week the Following Records Are The
record Formerly MUSIC worldVENDOR Vol. 19, No. 927 March 13, 1965 In theopinion of theeditors, this week the following records are the recordroll/1 world J F1,4 WHO SINGLE PICK OF THE WEEK RECORDNO. VOCAL Will. The Kama -Sutracrowdknowsthe 45-5500 iRST ACCOMP IN THE rill 12147) MAGGIE MUSS. TIME 2.06 (OW) musical tricks of the trade and they ply them on this galvanic rock.Gal wails at her bossy guy in a way that teens will understand.Production is WHO ARE YOU complexandappealing.Jubileeis WORLD (Chi Taylor-Ted Oaryll) STACEY CANE By GARY SHERMAN releasing the deck (5500). KAMA-SUTRA PRODUCTIONS pr HY MIIRAHI-PHI( STFINPERc ARTIE RIP,' NVICro#e NANCY ADAMS SLEEPER OF THE WEEK 47-8529 RCA has a new thrush who can sell Omer Productions, a song but good. Her name is Nancy Inc.,ASCAP SPHIA-1938 Adams and this single outing should 2:31 establish her on the scene. Tune is by hit writer Robert Allen. (RCA Victor NOTHING IS TOO GOOD FOR YOU 47.8529) Slew, GEORGE STEVENS THE GREATEST STORY EVER TOLD ALBUM Russell Sims, President Of OF THE WEEK Sims Records, & Jerry Wexler, TheGeorgeStevensproductionof Atlantic Exec VP, At Signing "The Greatest Story Ever Told" will be Of Pact For Atlantic To Dis- playinginan increasing number of areas over the next months.Movie- ... tribute All Sims Product. goers are highly likely to want this Story On Page 6. album which contains the stately and reverant Alfred Newman score for the film.United Artists has the beauti- fully packaged album (UAL/JAS 5120). -
Psaudio Copper
Issue 23 JANUARY 2ND, 2017 Happy New Year, and welcome to Copper #23, and 2017! As I look back at 2016...well, Popeye put it best: httpv://www.youtube.com/watch?v=h97kbv4mbsc Really, what more is there to say? Right up to the last minute, the Reaper was ripping creative souls from our midst. Let's hope for a better new year. In this issue, we start with Richard Murison explaining the convoluted concept of convolution, then go to Dan Schwartz for a tale of musical evolution ; Professor Schenbeck takes a look at the best musical releases of that annus horribilus, 2016; Duncan Taylor presents another killer local group, The Railsplitters ; and Woody Woodward takes a last, twisted look at Christmas music (no toys this time, but there is an extra-special performance). I pay homage to yet another friend and colleague who passed away this year, Ken Furst, and explore what readers and industry folk would've wanted as an audio gift, if they could just have one precious piece of gear back again. Jim Smith is back with more on the ACK Attack; Ken Kessler is back also, with another batch of artists who really don't deserve to be forgotten; and in our final feature, Darren Myers has an update on the "CNC" DIY phonostage. This issue's reader system is a particularly attractive one, and our issue closes with yet another gorgeous image from Paul McGowan. I wish all the best for our readers in the New Year. Next issue I'll be in CES-recovery mode, and may or may not be up to writing about it. -
The BBC Band: Song List
The BBC band: Song List THE KINKS All Of The Day And All Of The Night ABBEY ROAD Album You Really Got Me Come Together Something THE DAVE CLARK FIVE Maxwell’s Silver Hammer Because Oh Darling Coming Home Octopus’s Garden I Want You (She’s So Heavy) THE WHO Here Comes The Sun Can’t Explain Because Substitute You Never Give Me Your Money Sun King THE HOLLIES Mean Mr. Mustard Bus Stop Polythene Pam Look Through Any Window She Came In Through The Bathroom Window Golden Slumbers BADFINGER Carry That Weight Come And Get It The End Her Majesty THREE DOG NIGHT Celebrate RUBBER SOUL Album Drive My Car THE EASY BEATS Norwegian Wood Friday On My Mind You Won’t See Me Nowhere Man PAUL REVERE & THE RAIDERS Think For Yourself Kicks The Word Michelle FOUR SEASONS What Goes On Big Girls Girl Sherry I’m Looking Through You Rag Doll In My Life Can’t Take My Eyes Off Of You Wait If I Needed Someone THE BYRDS Run For Your Life Mr. Tambourine Man Turn, Turn, Turn GRASS ROOTS Rock n Roll Star Midnight Confessions Wait A Million Years BEE GEES Two Divided By Love Run To Me To Love Somebody Words Lonely Days, Lonely Nights 1910 Mining Disaster - Golden Slumbers ZOMBIES - Good Day Sunshine Time Of The Season - Got To Get You Into My Life She’s Not There - Hello Goodbye - Here Comes The Sun DEEP PURPLE - Her Majesty Hush - Hide Your Love Away - I Feel Fine PROCOL HARUM - If I Needed Someone Whiter Shade Of Pale - I’m Looking Through You - In My Life WINGS - I Should Have Known Better Jet - I Want To Hold Your Hand - I Want To Tell You - I Want You (She’s So Heavy) - If I Fell - If I Needed Someone - I’ll Be Back SONG LIST ALPHABETICAL ORDER - Kansas City - Kicks “PAUL REVERE & THE RAIDERS” - A Hard Day’s Night - Lady Madonna - All Day And All Of The Night “THE KINKS” - Look Through Any Window “THE HOLLIES” - All My Loving - Maxwell’s Silver Hammer - And Your Bird Can Sing - Mean Mr. -
1 Dreamboats, Boybands and the Perils of Showbiz: Pop and Film, 1956-1968 David Buckingham This Essay Is Part of a Larger Projec
Dreamboats, Boybands and the Perils of Showbiz: Pop and Film, 1956-1968 David Buckingham This essay is part of a larger project, Growing Up Modern: Childhood, Youth and Popular Culture Since 1945. More information about the project, and illustrated versions of all the essays can be found at: https://davidbuckingham.net/growing-up-modern/. The first appearance of rock and roll music in film seems to have been something of an afterthought. When Richard Brooks’s Blackboard Jungle was released in 1955, the producers made a last-minute decision to accompany the opening and closing credits with an obscure B-side called ‘Rock Around the Clock’ by Bill Haley and the Comets. The record had been released the previous year with little success. Although an instrumental version of the tune does appear in the middle of the film, Blackboard Jungle is barely concerned with rock or pop music at all. In one notable scene, the delinquent teenagers trash their teacher’s treasured collection of jazz records; while in another, one of the students, Gregory Miller (played by Sidney Poitier) performs a gospel song with his black class-mates. However, the inclusion of Haley’s track made it an immediate chart hit; and it also contributed to the remarkable success of the film with teenage audiences. Indeed, the use of ‘Rock Around the Clock’ seems to have encouraged dancing and even wilder behaviour in cinemas, both in the US and in the UK. When the film was shown in South London in 1956, Teddy Boys in the audience reportedly rioted and slashed the seats; and this led to similar behaviour in cinemas around the country. -
The Rolling Stones at West Viewpark, 1964
The Rolling Stones at West View Park, 1964 Brian A.Butko and Paul Roberts, Pittsburgh History been about a year since the Rolling Stones Pittsburgh group spawned by Beatlemania," said last played in the area. Just as interest was Goodrich. In fact, the Stones got a lukewarm IT'Sstarting to wane, who—steps forward but Paula reception in a town proud ofits home-grown R- Cline ofDormont, Pa., with her photos of the and-B. Goodrich remembers that the Stones had to Stones in their first Pittsburgh gig, on their first push their way —through the audience from the U.S. tour, in 1964. dressing room no police clearing a path in those On the evening ofJune 17, a Wednesday, the days. The crowd, raised on Porky Chedwick and Stones capped a six-act show at West View Park's Pittsburgh's own "underground" music, stood with Danceland. About— 400 people showed up at the their arms crossed— and watched the eight- song, old dance hall Danceland burned in1973 and half-hour set no screaming, no stage rushing. 3 the rest of the amusement— park north ofPittsburgh Often called dirty and long-haired, the Stones closed in 1977 to see Bobby Comstock and the were mostly well dressed, in jackets and ties.4 Mick Counts, the Fenways, Patty and the Emblems, the Jagger played maracas and sang. Drummer Charlie Pixies Three, Bobby Goldsboro, and the Rolling Watts was interviewed by Chuck Brinkman on KQV Stones. KQVradio, neck-and-neck withKDKAas later that night. the city's pop music voice of the day, sponsored the The Rolling Stones returned four times: the show. -
The Flip Side February 2014 #201
FEBRUARY 2014 THE FLIP SIDE FEBRUARY 2014 ISSUE #201 #201 Inside… Painstakingly compiled by: B. Derek Shaw - Thank You for the Music THANK YOU FOR THE MUSIC A farewell to some of the talent who passed away in 2013... - Sing Off Season 4 Review - 40 Years Ago this Month January 1st - Patti Page, 85, no cause report- February 24th - Virgil Johnson, 77, doo-wop - Our 35th Year! ed. She was the best-selling female artist of the singer. He was the lead singer of The Velvets, and more! 1950s, selling over 100 million records. She "Tonight (Could Be the Night)". 28th - Richard continued to have pop hits even into the mid- Street, 70, a member of the Temptations for 25 1960s with "Old Cape Cod", "Allegheny Moon", years, through the mid 1990’s. RAMBLINGS FROM THE EDITOR VIEW FROM THE TOP "A Poor Man's Roses (Or a Rich Man's Gold)", VIEW FROM THE TOP and "Hush, Hush, Sweet Charlotte". 4th - Sammy Johns, March 1st - Jewel Akens, 79, R&B singer ("The Birds and Congratulations to the 2014 officer Welcome to 2014! Another year has 66, singer-songwriter (1975’s million seller "Chevy Van"). the Bees") and record producer, complications from back team you elected to run your club. They flown by and we're looking to start it 11th - Rick Huxley, 72, founder of The Dave Clark Five, surgery. 3rd - Bobby Rogers, 73, founding include: Dave Schmidt, President; Eddie all over again! Our shows continue lung cancer. 25th - Gregory Carroll, 83, doo-wop singer member of The Miracles, lingering illness. -
The Pirates and Pop Music Radio
SELLING THE SIXTIES Was pirate radio in the sixties a non-stop psychedelic party – an offshore discothèque that never closed? Or was there more to it than hip radicalism and floating jukeboxes? From the mavericks in the Kings Road and the clubs ofSohotothemultinationaladvertisers andbigbusiness boardrooms Selling the Sixties examines the boom of pirate broadcasting in Britain. Using two contrasting models of unauthorized broadcasting, Radios Caroline and London, Robert Chapman situates offshore radio in its social and political context. In doing so, he challenges many of the myths which have grown up around the phenomenon. The pirates’ own story is framed within an examination of commercial precedents in Europe and America, the BBC’s initial reluctance to embrace pop culture, and the Corporation’s eventual assimilation of pirate programming into its own pop service, Radio One. Selling the Sixties utilizes previously unseen evidence from the pirates’ own archives, revealing interviews with those directly involved, and rare audio material from the period. This fascinating look at the relationship between unauthorized broadcasting and the growth of pop culture will appeal not only to students of communications, mass media, and cultural studies but to all those with an enthusiasm for radio history, pop, and the sixties. Robert Chapman’s broadcasting experience includes BBC local radio in Bristol and Northampton. He has also contributed archive material to Radios One and Four. He is currently Lecturer and Researcher in the Department of Performing Arts and Media Studies at Salford College of Technology. Selling the Sixties THE PIRATES AND POP MUSIC RADIO ROBERT CHAPMAN London and New York First published 1992 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge a division of Routledge, Chapman and Hall, Inc. -
Absence and Presence: Top of the Pops and the Demand for Music Videos in the 1960S
Absence and Presence: Top of the Pops and the demand for music videos in the 1960s Justin Smith De Montfort University Abstract Whilst there is a surprising critical consensus underpinning the myth that British music video began in the mid-1970s with Queen’s video for ‘Bohemian Rhapsody’, few scholars have pursued Mundy’s (1999) lead in locating its origins a decade earlier. Although the relationship between film and the popular song has a much longer history, this article seeks to establish that the international success of British beat groups in the first half of the 1960s encouraged television broadcasters to target the youth audience with new shows that presented their idols performing their latest hits (which normally meant miming to recorded playback). In the UK, from 1964, the BBC’s Top of the Pops created an enduring format specifically harnessed to popular music chart rankings. The argument follows that this format created a demand for the top British artists’ regular studio presence which their busy touring schedules could seldom accommodate; American artists achieving British pop chart success rarely appeared on the show in person. This frequent absence then, coupled with the desire by broadcasters elsewhere in Europe and America to present popular British acts, created a demand for pre-recorded or filmed inserts to be produced and shown in lieu of artists’ appearance. Drawing on records held at the BBC’s Written Archives and elsewhere, and interviews with a number of 1960s music video directors, this article evidences TV’s demand-driver and illustrates how the ‘pop promo’, in the hands of some, became a creative enterprise which exceeded television’s requirement to cover for an artist’s studio absence. -
Carolina Classic Hits Top 2020 Classic Hit List
2020 Carolina Classic “Hit List” Rank Title Artist 1 Head Over Heels Tears for Fears 2 Overkill Men at Work 3 When Smokey Sings ABC 4 The Look Of Love ABC 5 Raspberry Beret Prince 6 Keep On Loving You REO Speedwagon 7 Who Can It Be Now Men At Work 8 The Heart Of Rock & Roll Huey Lewis and the News 9 Our Lips Are Sealed Go-Go's 10 Small Town John Mellencamp 11 Tainted Love Soft Cell 12 Get Outta My Dreams Get Into My Car Billy Ocean 13 Maniac Michael Sembello 14 Open Your Heart Madonna 15 Celebration Kool & the Gang 16 Venus Bananarama 17 I Want You Marvin Gaye 18 Lady (You Bring Me Up) Commodores 19 Super Freak Rick James 20 What's Love Got To Do With It Tina Turner 21 Caribbean Queen (No More Love On The Run) Billy Ocean 22 Centerfold J. Geils Band 23 Boulevard Jackson Browne 24 You Might Think Cars 25 It's A Shame Spinners 26 Walking On Sunshine Katrina & The Waves 27 Don't Ask Me Why Billy Joel 28 Don't You (Forget About Me) Simple Minds 29 Don't Stop Believin' Journey 30 Allentown Billy Joel 31 Pink Houses John Mellencamp 32 Oh Sheila Ready For The World 33 Tell It To My Heart Taylor Dayne 34 This Time Bryan Adams 35 Beat It Michael Jackson 36 Everybody Wants To Rule The World Tears for Fears 37 Cold Hearted Paula Abdul 38 Got To Give It Up Marvin Gaye 39 St. Elmo's Fire (Man In Motion) John Parr 40 Holiday Madonna 41 Take On Me a-Ha 42 Freeway Of Love Aretha Franklin 43 Don't You Want Me Human League 44 Point Of No Return Expose 45 Reelin' In The Years Steely Dan 46 China Grove Doobie Brothers 47 Start Me Up Rolling Stones 48 Saturday -
The British Invasion: Finding Traction in America by Piacentino Vona A
The British Invasion: Finding Traction in America by Piacentino Vona A thesis presented to the University Of Waterloo in fulfilment of the thesis requirement for the degree of Master of Arts in History Waterloo, Ontario, Canada, 2018 © Piacentino Vona 2018 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract As a period of American History, the 1960s has provided historians and academics with a wealth of material for research and scholarship. Presidents John F. Kennedy, Lyndon B. Johnson and Richard Nixon, the Vietnam War, the hippie era, and the Civil Rights Movement, among other topics have received thorough historical discussion and debate. Music was another key aspect in understanding the social history of the 1960s. But unlike the people and events mentioned above, historians have devoted less attention to music in the historical landscape. The British Invasion was one such key event that impacted America in the 1960s. Bands such as the Beatles, the Rolling Stones, and the Who found their way into the United States and majorly impacted American society. Using secondary sources, newspaper articles, interviews and documentaries on these bands, this thesis explores the British Invasion and its influence in the context of 1960s America. This thesis explores multiple bands that came in the initial wave. It follows these bands from 1964-1969, and argues that the Beatles, the Rolling Stones, and the Who shared common multiple factors that allowed them to attain the traction to succeed and to maintain that success in the United States.