FOSIL News & Views 25Th February 2021
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The History of Rock, a Monthly Magazine That Reaps the Benefits of Their Extraordinary Journalism for the Reader Decades Later, One Year at a Time
L 1 A MONTHLY TRIP THROUGH MUSIC'S GOLDEN YEARS THIS ISSUE:1969 STARRING... THE ROLLING STONES "It's going to blow your mind!" CROSBY, STILLS & NASH SIMON & GARFUNKEL THE BEATLES LED ZEPPELIN FRANK ZAPPA DAVID BOWIE THE WHO BOB DYLAN eo.ft - ink L, PLUS! LEE PERRY I B H CREE CE BEEFHE RT+NINA SIMONE 1969 No H NgWOMI WI PIK IM Melody Maker S BLAST ..'.7...,=1SUPUNIAN ION JONES ;. , ter_ Bard PUN FIRS1tintFaBil FROM 111111 TY SNOW Welcome to i AWORD MUCH in use this year is "heavy". It might apply to the weight of your take on the blues, as with Fleetwood Mac or Led Zeppelin. It might mean the originality of Jethro Tull or King Crimson. It might equally apply to an individual- to Eric Clapton, for example, The Beatles are the saints of the 1960s, and George Harrison an especially "heavy person". This year, heavy people flock together. Clapton and Steve Winwood join up in Blind Faith. Steve Marriott and Pete Frampton meet in Humble Pie. Crosby, Stills and Nash admit a new member, Neil Young. Supergroups, or more informal supersessions, serve as musical summit meetings for those who are reluctant to have theirwork tied down by the now antiquated notion of the "group". Trouble of one kind or another this year awaits the leading examples of this classic formation. Our cover stars The Rolling Stones this year part company with founder member Brian Jones. The Beatles, too, are changing - how, John Lennon wonders, can the group hope to contain three contributing writers? The Beatles diversification has become problematic. -
Vinyls-Collection.Com Page 1/222 - Total : 8629 Vinyls Au 05/10/2021 Collection "Artistes Divers Toutes Catã©Gorie
Collection "Artistes divers toutes catégorie. TOUT FORMATS." de yvinyl Artiste Titre Format Ref Pays de pressage !!! !!! LP GSL39 Etats Unis Amerique 10cc Windows In The Jungle LP MERL 28 Royaume-Uni 10cc The Original Soundtrack LP 9102 500 France 10cc Ten Out Of 10 LP 6359 048 France 10cc Look Hear? LP 6310 507 Allemagne 10cc Live And Let Live 2LP 6641 698 Royaume-Uni 10cc How Dare You! LP 9102.501 France 10cc Deceptive Bends LP 9102 502 France 10cc Bloody Tourists LP 9102 503 France 12°5 12°5 LP BAL 13015 France 13th Floor Elevators The Psychedelic Sounds LP LIKP 003 Inconnu 13th Floor Elevators Live LP LIKP 002 Inconnu 13th Floor Elevators Easter Everywhere LP IA 5 Etats Unis Amerique 18 Karat Gold All-bumm LP UAS 29 559 1 Allemagne 20/20 20/20 LP 83898 Pays-Bas 20th Century Steel Band Yellow Bird Is Dead LP UAS 29980 France 3 Hur-el Hürel Arsivi LP 002 Inconnu 38 Special Wild Eyed Southern Boys LP 64835 Pays-Bas 38 Special W.w. Rockin' Into The Night LP 64782 Pays-Bas 38 Special Tour De Force LP SP 4971 Etats Unis Amerique 38 Special Strength In Numbers LP SP 5115 Etats Unis Amerique 38 Special Special Forces LP 64888 Pays-Bas 38 Special Special Delivery LP SP-3165 Etats Unis Amerique 38 Special Rock & Roll Strategy LP SP 5218 Etats Unis Amerique 45s (the) 45s CD hag 009 Inconnu A Cid Symphony Ernie Fischbach And Charles Ew...3LP AK 090/3 Italie A Euphonius Wail A Euphonius Wail LP KS-3668 Etats Unis Amerique A Foot In Coldwater Or All Around Us LP 7E-1025 Etats Unis Amerique A's (the A's) The A's LP AB 4238 Etats Unis Amerique A.b. -
The Melody Maker Says Turn to Pace 4
THEMELODY MAKERSAYS *awryT. 1967 9d weekly ONT KNOCK THEPOP! 'Destructive practices' harmingpop WAR hes been declaredon pop-The sounds of '66 relightneversurvivetohe- el:~the sounds of '67. Afteralong struggle by Britain's seising peingile to create a popcur twit VASAlax made millions of Plegotes her thetstablisninent. the saw*Ettalilllakarree are busy kick - ANCMthe teeth, ro.ealkid "pirate' commer- esal1,11,10 aredue to be egflpteszed by the Ginernment. DEMISE There is now only one nation- *Wit telesietto neagramrre for pop Waitikw*--stot TV's Too Of The Pipe, wh th feannits ord. success - NO (Wirt artWtS tad precludes new- comers. mud magazines are tfi=rrkilIMPoefillligpromusic *ad its eseements.Columnists who madeMeatregulationswriting skeet pep are wow gleefullypre- &eget its demise- Owee again the hoar. old gibes *bet -twighaired morons'.arebe- tog dieted off by leader writers, HEALTHY COME Quihe apart from these who have yawnfaton teenagemusic. these mire"maTVairMone.rating Indattea- Mom who mid magazines TO THE and wavrapapees. Mart are mans TOM JONES: only Gold Disc of 1966 Warewhineeveryday lifteelibeeda depend en a Insaltter. *Meng eater- . Ayler 5 ANTIBES The artists-amorss- ...and it's all hi andstreggrras- walkers in the record- TV show ing rodliastes.and men- oaf inatmnairat teachers. FESTIVAL Emden midmaostac- popping for Tom shelved nom& f looks as AM these people .1-'0M JONESis almost a recordin1966 and Dodd showassche- thoughlovers sheaddbetakeninto 1certaintotopthe thefirsteverInthe duled. of avant-garde eeeeidayesiee by the Nilforthe Palladium historyofDeccare- On Sunday (8), he opens Jazzwill be dis- WITH sesi-pep %aimwhich TV shot,. on February cords for a British a weekdoubling at the appointed If they IL It will be his fourth are waiting to hallhasweesthe Omer- artist selling in the UK. -
Memories of Nick Drake (1969-70)
Counterculture Studies Volume 2 Issue 1 Article 18 2019 Memories of Nick Drake (1969-70) Ross Grainger [email protected] Follow this and additional works at: https://ro.uow.edu.au/ccs Recommended Citation Grainger, Ross, Memories of Nick Drake (1969-70), Counterculture Studies, 2(1), 2019, 137-150. doi:10.14453/ccs.v2.i1.17 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Memories of Nick Drake (1969-70) Abstract An account of Australian Ross Grainger's meetings with the British singer songwriter guitarist Nick Drake (1948-74) during the period 1969-70, including discussions at London folk clubs. Creative Commons License This work is licensed under a Creative Commons Attribution 4.0 International License. This journal article is available in Counterculture Studies: https://ro.uow.edu.au/ccs/vol2/iss1/18 Memories of Nick Drake (1969-70) Ross Grainger Nick Drake, 29 April 1969. Photograph: Keith Morris. I first met Nick Drake when I arrived in London after attending the Isle of Wight Pop Festival in 1969, which featured as its curtain-closer a very different Bob Dylan to the one I had seen in Sydney in March 1966. However, on thinking about it, Dylan’s more scaled down eclectic country music approach - which he revealed for the first time - kind of prepared me for what I was about to experience in London. The day after I arrived at my temporary London lodgings with friends living in Warwick Avenue, I went to Les Cousins in Greek Street. -
Summary of Sensory Team Manager Duties
Link to thesis website Chapter 6 Competing speech communities Chapter 6 Competing speech communities The final chapter of this section focuses on the evolution of folk tradition, and the new spaces created for performance, within the Celto-Cornish movement through the latter half of the twentieth century to the current era of festival culture and Pan- Celticism. It makes the case that the Celto-Cornish movement and the folk revival that arrived in Cornwall in the sixties represent different speech communities, which competed for ownership of oral folk tradition and the authenticity it represented. It must be also be recognised that there is a third speech community with a stake in the celebration of tradition, the local community within which it takes place. One outcome of these competing speech communities is the way in which the same folk phenomena will be used to express quite different identities. The Padstow May Day festivities for example are a celebration that firstly represents a sense of the towns community1 and secondly a Celto-Cornish tradition2 but at the same time is used as an icon by the English Folk Dance And Song Society.3 Underlying this discussion, however, must be the recognition that identity is chaotically unique for each individual and each group of individuals, all of which are at the centre of a “complex web of being”.4 In order to pursue this argument it is first necessary to revisit and examine more closely what is meant by a speech community and how this might affect performance and meaning within oral folk tradition. -
Giving America Back the Blues
GIVING AMERICA BACK THE BLUES OVERVIEW ESSENTIAL QUESTION How did the early Rolling Stones help popularize the Blues? OVERVIEW The Rolling Stones ultimately made their mark as the nonconformist outlaws of Rock and Roll. But before they were bad boys, the Stones were missionaries of the Blues. The young Rolling Stones — Mick Jagger, Keith Richards, Brian Jones, Charlie Watts, and Bill Wyman — were white kids who hailed from working- and middle-class Britain and set out to play American music, primarily that of African Americans with roots in the South. In so doing, they helped bring this music to a new, largely white audience, both in Britain and the United States. The young men who formed the Rolling Stones emerged from the club scene fostered by British Blues pioneers Cyril Davies and Alexis Korner. These two men and their band, Blues Incorporated, helped popularize the American Blues, whose raw intensity resonated with a generation of Britons who had grown up in the shadow of war, death, the Blitz, postwar rationing, and the hardening of the Cold War standoff. Much of the Stones’ early work consisted of faithful covers of American Blues artists that Davies, Korner, and the Stones venerated: Muddy Waters, Howlin’ Wolf, Slim Harpo, Jimmy Reed. The early Stones in particular helped make the Blues wildly popular among young Britons. As the Stones’ fame grew and they became part of the mid-1960s British “invasion” of America, they also reintroduced the Blues to American listeners, most notably young, white audiences with limited exposure to the music. But almost from day one, the Stones were more than a Blues cover band. -
Wizz Jones: White and Grew up in Croydon
interview: WIZZ JONES What made Jones different of course, is that he wasn’t black and born in Mississippi – he was wizz Jones: white and grew up in Croydon. But it was from his early exposure to the American black blues players – most notably Big Bill Broonzy – that Jones developed the Legendary Me his hallmark right hand. He has an uncanny feel for the guitar, and for country blues especially. Eric Clapton and Keith Richards cite him as an important early His playing teeters on the brink of a consummate virtuosity influence. Bert Jansch describes him as the ‘most underrated while still managing to sound raw and authentic. It’s this guitarist ever’. He has a cult following on the Internet, and his balance that makes his playing so distinctive and virtually unique early vinyl fetches daft money on eBay. So why on earth haven’t among British guitarists. Jones more people heard of Wizz Jones? is dismissive, and puts much of it down to his busking days. ‘Yeah, there’s an authority there. e’re sitting in an fine guitarist and songwriter, out as a committed left fielder. It comes from being out there in upstairs room he’s also one of contemporary Jones’s take is typically self- the snow, playing cinema queues of a pub in folk music’s trailblazers. Go effacing, even on his formative and street corners, and wearing the suburbs of back to the late 50s and do a years as a musician. ‘You like to fingerpicks to make it louder. I did Birmingham. -
The American Blues in Britain
THE AMERICAN BLUES IN BRITAIN OVERVIEW ESSENTIAL QUESTION In what ways did American Blues affect English musicians in the early 1960s? OVERVIEW “[Before the Beatles] The pop music in this country was very watery and weak, not worth talking about. Things like Cliff Richard.” – Pete Townsend of the Who on British popular music in the early 1960s This lesson looks at the Blues scene in England that prefigured the British Invasion. Though young people there were able to hear Bill Haley, Buddy Holly, the Everly Brothers, Little Richard, and other artists associated with early American Rock and Roll, the music they could call their own, British popular music, sometimes left them dissatisfied. As Pete Townsend describes in the epigraph above, he was among those who found the home offerings “watery and weak.” But if one thing marked the U.K. at that time, it was a respect for American music. Yes, for Rock and Roll -- but also for the Blues tradition. Artists who had never left the States came over to England, France, and Germany and found themselves welcomed and celebrated. American Bluesmen like Big Bill Broonzy found they could have careers in Europe when in the States they had little going on. Starting in 1962, the European interest in American Blues was fed by the American Folk Blues Festival, an annual touring festival that brought Muddy Waters, Howlin’ Wolf, Sonny Boy Williamson, and many more to European audiences intermittently over the next few decades. In the audience for those first shows were future members of the Rolling Stones, Led Zeppelin, and other major acts of the 1960s and 1970s. -
Rosemary Lane 1996-99
Introducing Rosemary Lane 1996-99 hese six editions of Rosemary Lane from T1996-99 cover vibrant years in the post- Pentangle musical projects of Bert Jansch, Jacqui McShee and John Renbourn. Bert married Loren Auerbach, launched his successful come-back album When the Circus Come to Town, brought his own musical circus to town by taking up regular residency with friends at the popular 12- Bar Club in Denmark Street, released a bootleg album from that experience, toured around the world and followed up with the memorable Toy Balloon from the studio. Jacqui put out the first fruits of her collaboration with Gerry Conway and Spencer Cousins in the long-awaited About Thyme album, began work on the follow-up Passe Avant whilst touring Europe and the UK both with her own band and John Renbourn. John himself had started working on arrangements that eventually emerged on the album Traveller’s Prayer, but in the meantime was overtaken by the release of the Lost Sessions album of recordings from the early ‘70’s, whilst touring the US and Europe which also gave rise to the Live in Italy collection. He played with Jacqui, Stefan Grossman, Isaac Guillory, Archie Fisher, Wizz Jones and even teamed up again with Dorris Henderson for some impromptu concerts re-visiting their early 1960’s collaborations. So when you read the magazines now, you will quickly discover they depict three flourishing talents fully- engaged with their music and thrilling audiences wherever they performed. he magazine was despatched to all four corners of the British Isles. TInternationally the most popular continent was Europe headed up by readers in Germany, Italy and Norway with fewer in Belgium, the Netherlands, Denmark, France, the Republic of Ireland, Spain, Portugal and Sweden. -
Lps Page 1 -.:: GEOCITIES.Ws
LPs ARTIST TITLE LABEL COVER RECORD PRICE 10 CC SHEET MUSIC UK M M 5 2 LUTES MUSIC IN THE WORLD OF ISLAM TANGENT M M 10 25 YEARS OF ROYAL AT LONDON PALLADIUM GF C RICHARD +E PYE 2LPS 1973 M EX 20 VARIETY JOHN+SHADOWS 4 INSTANTS DISCOTHEQUE SOCITY EX- EX 20 4TH IRISH FOLK FESTIVAL ON THE ROAD 2LP GERMANY GF INTRERCORD EX M 10 5 FOLKFESTIVAL AUF DER LENZBURG SWISS CLEVES M M 15 5 PENNY PIECE BOTH SIDES OF 5 PENNY EMI M M 7 5 ROYALES LAUNDROMAT BLUES USA REISSUE APOLLO M M 7 5 TH DIMENSION REFLECTION NEW ZEALAND SBLL 6065 EX EX 6 5TH DIMENSION EARTHBOUND ABC M M 10 5TH DIMENSION AGE OF AQUARIUS LIBERTY M M 12 5TH DIMENSION PORTRAIT BELL EX EX- 5 75 YEARS OF EMI -A VOICE WITH PINK FLOYD 2LPS BOX SET EMI EMS SP 75 M M 40 TO remember A AUSTR MUSICS FROM HOLY GROUND LIM ED NO 25 HG 113 M M 35 A BAND CALLED O OASIS EPIC M M 6 A C D C BACK IN BLACK INNER K 50735 M NM 10 A C D C HIGHWAY TO HELL K 50628 M NM 10 A D 33 SAME RELIGIOUS FOLK GOOD FEMALE ERASE NM NM 25 VOCALS A DEMODISC FOR STEREO A GREAT TRACK BY MIKE VICKERS ORGAN EXP70 M M 25 SOUND DANCER A FEAST OF IRISH FOLK SAME IRISH PRESS POLYDOR EX M 5 A J WEBBER SAME ANCHOR M M 7 A PEACOCK P BLEY DUEL UNITY FREEDOM EX M 20 A PINCH OF SALT WITH SHIRLEY COLLINS 1960 HMV NM NM 35 A PINCH OF SALT SAME S COLLINS HMV EX EX 30 A PROSPECT OF SCOTLAND SAME TOPIC M M 5 A SONG WRITING TEAM NOT FOR SALE LP FOR YOUR EYES ONLY PRIVATE M M 15 A T WELLS SINGING SO ALONE PRIVATE YPRX 2246 M M 20 A TASTE OF TYKE UGH MAGNUM EX EX 12 A TASTE OF TYKE SAME MAGNUM VG+ VG+ 8 ABBA GREATEST HITS FRANCE VG 405 EX EX -
Postcard 1 the London Blues/R&B Club Scene
Postcard 1 The London Blues/R&B Club Scene Writing Questions: Why did the Blues surge to popularity in post-World War II Britain? Why did electric Blues and Rhythm and Blues (R&B) become more popular than traditional acoustic Country Blues? What was the appeal of American Blues to white Londoners? Writing Point of View: You have just arrived in 1963 London. You’ve spent a few nights listing to Cyril Davies and Alexis Korner at the Ealing and Marquee clubs. You send your first postcard to tell your cousin about the vibrant music scene and reflect on how it is a response to the pressures of growing up in post-World War II Britain. Resources: 1. Video: Pete Townsend of the Who discusses growing up in postwar Britain 2. Excerpt from Rolling Stones guitarist Keith Richards’ autobiography From Life, by Keith Richards, 2011 “Rhythm and blues was the gate. Cyril Davies and Alexis Korner got a club going, the weekly spot at the Ealing Jazz Club, where rhythm and blues freaks could conglomerate. Without them, there might have been nothing. It was where the whole blues network could go. … Rhythm and blues was a very important distinction in the ’60s. Either you were blues and jazz or you were rock and roll, but rock and roll had died and gone pop — nothing left in it. Rhythm and blues was a term we pounced on because it meant really powerful blues… from Chicago. It broke through the barriers. … Alexis Korner was the daddy of the London blues scene. Alexis’s band was damn good. -
Rosemary Lanerosemary Lane the Pentangle Magazine
Rosemary LaneRosemary Lane the pentangle magazine John Renbourn: Of Tunes and Troubadours Tour dates in the UK and US Guitar Tablature: classic Bert and a new arrangement by John Letters and Reviews Issue No 11 Winter 1996/7 Rosemary Lane Editorial... A Happy New Year to all! Rosemary Lane RL Ed 2 Rosemary Lane Contents Rosemary Lane Winter 1996/7 Issue No 11 Page Editorial 2 JacquiConcert McShee: Review: Contents/Next Month 3 Bert a& tale John at The Jolly Gardeners 21 Letters 4-6 GuitarAbout TablatureThyme 1 - Tuning Up - News 7-8 An Phis Fhlinch arr. John Renbourn 24-27 Tour Dates - Bert and Jacqui's Pentangle 9 Guitar Tablature 2 - Tour Dates - John & Archie Fisher 10 One To A Hundred by Bert Jansch 28-29 Of Tunes and Troubadours - 11-12,14-15 Album Reviews: (John Renbourn interview) & 18-19,22-23 Album News: A Frenzy of Re-Issues! 32 & 30-31 Discography: Late Pentangle - 1992-95 33 John's Tablature - the lost tunes 13 Subscription Information 34 Sir John Alot... re-appraised 16-17 Information: Concert Review: Transatlantic Re-Issues on Castle 35 John & Jacqui at the Purcell Room 20 Lost Sessions / BC COMING IN THE NEXT ISSUE! op item next time round will be news of TBert's latest album. He'll be touring the UK in April so you'll get the chance to hear some of the new songs then....Now it's a while ago since I popped a teasing question about the most recorded song from the combined Pentangle repertoire. Many thanks to all those who wrote in.