Dan Fogelberg Part of the Plan
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Their Greatest Hits (1971-1975)”—The Eagles (1976) Added to the Registry: 2016 Essay by Marc Eliot (Guest Post)*
“Their Greatest Hits (1971-1975)”—The Eagles (1976) Added to the Registry: 2016 Essay by Marc Eliot (guest post)* The Eagles In 1971, the arrival of The Eagles signaled a major shift in popular musical tastes in America. If Woodstock was the funeral for both the music and the culture of a decade of drugged out, hippie, free love and cultish idealism, the Seventies was the decade of blatant decadence, political cynicism, sexual distrust, and rampant narcissism. No band represented both the rejection of the Sixties and the celebration of the Seventies more than its crown princes, the Eagles. Songs like “Lyin’ Eyes,” “Witchy Woman,” “One of These Nights,” and “Already Gone,” filled with spirited playing, close harmonies and an overlay of the Eagles’ war between the sexes, comprise four of the ten selections included in the initial compilation of Eagles’ hit songs from their first four albums, “Their Greatest Hits (1971-1975).” Ironically, although the Eagles’ laid-back sound was bright and natural as Southern California sunshine, none of the original four members were Golden State natives (Don Henley, vocalist, lyricist, drummer, was from Texas, bred on bluegrass and country music; Glenn Frey, vocalist, lyricist, rhythm guitar, pianist, came from the streets of Detroit, influenced by the music of Motown and mentored by Bob Seger; Randy Meisner, on bass, was a veteran bar band night sider out of Nebraska; Bernie Leadon, guitar, mandolin, banjo, was a Minnesotan who loved and loved to play classic country). Each migrated separately to Los Angeles, like lemmings, to The Troubadour, the musical and cultural ground zero club on Santa Monica Boulevard, owned and operated by Doug Weston, who favored putting on his stage country-rock bands and female vocalists. -
Voices in the Hall: Sam Bush (Part 1) Episode Transcript
VOICES IN THE HALL: SAM BUSH (PART 1) EPISODE TRANSCRIPT PETER COOPER Welcome to Voices in the Hall, presented by the Country Music Hall of Fame and Museum. I’m Peter Cooper. Today’s guest is a pioneer of New-grass music, Sam Bush. SAM BUSH When I first started playing, my dad had these fiddle albums. And I loved to listen to them. And then realized that one of the things I liked about them was the sound of the fiddle and the mandolin playing in unison together. And that’s when it occurred to me that I was trying on the mandolin to note it like a fiddle player notes. Then I discovered Bluegrass and the great players like Bill Monroe of course. You can specifically trace Bluegrass music to the origins. That it was started by Bill Monroe after he and his brother had a duet of mandolin and guitar for so many years, the Monroe Brothers. And then when he started his band, we're just fortunate that he was from the state of Kentucky, the Bluegrass State. And that's why they called them The Bluegrass Boys. And lo and behold we got Bluegrass music out of it. PETER COOPER It’s Voices in the Hall, with Sam Bush. “Callin’ Baton Rouge” – New Grass Revival (Best Of / Capitol) PETER COOPER “Callin’ Baton Rouge," by the New Grass Revival. That song was a prime influence on Garth Brooks, who later recorded it. Now, New Grass Revival’s founding member, Sam Bush, is a mandolin revolutionary whose virtuosity and broad- minded approach to music has changed a bunch of things for the better. -
Eagles Landar På Spotify
2013-06-26 14:46 CEST Eagles landar på Spotify Nu finns Eagles katalog äntligen tillgänglig för streaming på bl a Spotify. Med låtar som ”Hotel California”, ”One of These Nights,” ”Desperado”, ”Take It Easy” och ”New Kid In Town”är amerikanerna inte bara countryrockens största band genom tiderna – gruppen har gjort ett antal album som tillhör de bäst säljande alla genrer räknade. Eagles bildades 1971 av Don Henley, Glenn Frey, Bernie Leadon och Randy Meisner, som alla då spelade i kompbandet bakom sångerskan Linda Ronstadt. Debutalbumet “Eagles” släpptes den 1 januari 1972. Med ”One of These Nights” kom 1975 det stora internationella genombrottet. Med ”Hotel California” befästes positionen som fixstjärnor. I Sverige kom listgenombrottet 1976 med samlingen ”Their Greatest Hits 1971-1975” respektive nämnda ”Hotel California”. 1977 framträdde man i Sverigedebuten på Gröna Lund i Stockholm inför en publik som inkluderade ABBA:s alla medlemmar. 1979 nåddes den första svenska listettan, med ”The Long Run.” Bandet splittrades 1980 varefter i synnerhet Don Henley gjorde succé som soloartist. Först 1994 återförenades bandet och den följande turnén resulterade i livealbumet “Hell Freezes Over.” “Long Road out of Eden” blev i oktober 2007 bandets första studioalbum på 27 år, det följdes 2008 av två utsålda Globenföreställningar i Stockholm. 2009 framträdde man på Malmö Stadion, 2011 följdes det upp med en spelning inför 20 000 på Norrporten Arena i Sundsvall. Warner Music International, a leading company in national and international repertoire operates through numerous international affiliates and licensees in more than 50 countries. With its broad roster of new stars and legendary artists, Warner Music Group is home to a collection of the best-known record labels in the music industry including Asylum, Atlantic, Bad Boy, Cordless, East West, Elektra, Lava, Maverick, Nonesuch, Reprise, Rhino, Roadrunner, Rykodisc, Sire, Warner Bros. -
Wks on 100/40 13/10 13/11 14/10 23/11 17/14
American Top 40 SHOW# 802- ~ STAT LIST CHART DATE S /;o//?O Wks on Top Top Hot 100/40 Rank SONGTITLE Artist #ls 10s 40s 100s 13/10 1- ( 4w) CALL ME------------------ Blondie 79 2* 2 4 5 13/11 2-2 RIDE LIKE THE WIND------- Christopher Cross 80 0 1 1 1 14/10 3-3 LOST IN LOVE------------- Air Supply 80 O· 1 1 1 Billy Preston & Syreeta 69/79 2/0 15/1 6/1 13/1 - 23/11 4-4 WITH YOU I'M BORN AGAIN -- 17/14 5-5 ANOTHER BRICK IN THE WALL- Pink Floyd 73 l* l 2 2 12/11 6-6 FIRE LAKE---------------- Bob Seger 68 . 0 3 9 17 9/8 7-7 YOU MAY BE RIGHT--------- Billy Joel 74 0 3 10 12 13/9 8-9 SEXY EYES---------------- Dr. Hook 72 0 6 8 15 7/5 9- 11 bON'T FALL IN LOVE WITH A DREAMER-K.Rogers/K.Carnes 76/78 0/0 15/1 7/2 9/3 11/8 10-10 HOLD ON TO MY LOVE------- Jimmy Ruffin 66 0 2 4 8 6/4 11-14 BIGGEST PART OF ME------- Ambrosia 75 0 1 4 5 Archive 237th Heart Of Glass----------- Blondie (April 1979) 5/4 12-· l 5 HURT SO BAD------------- Linda Ronstadt 67 1 7 15 23 12/8 . 13-13 PILOT OF THE AIRWAVES---- Charlie Dore 80 0 0 1 l 7/4 14-17 I CAN'T HELP IT---------- Andy Gibb &ONJ 77/71 3/3 6/9 7/17 7/2 1 13/7 15-18 CARS--------------------- Gary Numan 80 0 0 1 l 12/11 16-8 I CAN'T TELL YOU WHY----- The Eagles 72 5 10 15 18 7/4 17-19 BREAKDOWN DEAD AHEAD----- Boz Scaggs 71 0 l 4 10 9/5 18-21 STOMP-------------------- The Brothers Johnson 76 0 2 4 4 7/4 19-24 FUNKYTOWN ---------------- Lipps, Inc. -
DAN FOGELBERG the DEFINITIVE ANTHOLOGY SELLING POINTS: (2-CD Set)
DAN FOGELBERG THE DEFINITIVE ANTHOLOGY SELLING POINTS: (2-CD Set) • Dan Fogelberg Was One of the Leading Singer- He’s commonly thought of as the quintessential Songwriters of the ‘70s and ‘80s West Coast singer songwriter, but, as his celebrated collaborations with jazz flautist Tim • Fogelberg Also Constantly Defied Stylistic Boundaries by Collaborating with Such Artists as Weisberg and soundtrack composer Domenic SOnGS: Frontiere demonstrate, the Peoria-born Dan Fogelberg Tim Weisberg and Domenic Frontiere DISC ONE had a restless artistic spirit that took him beyond the 1. Phoenix • The Definitive Anthology Cherry Picks 28 Essential typical country-influenced, folk-rock sound of his 2. Sweet Magnolia (and the Traveling Tracks from 10 of His Studio Albums Salesman) contemporaries. And it is that constant thirst for 3. The Language of Love 4. Part of the Plan • Also Includes Two Songs (“Missing You” and experimentation and change that make this new 2-CD 5. Same Old Lang Syne “Make Love Stay”) from his Greatest Hits Album career-spanning retrospective such a great listen. 6. Run for the Roses 7. Illinois • Features Such Rocking Tracks as “Phoenix,” From rockers like “Phoenix,” “As the Raven Flies,” and 8. Nether Lands “As the Raven Flies,” and “The Power of Gold” “The Power of Gold,” to chart-topping, radio-friendly 9. There’s a Place in the World for a Gambler 10. Tucson, Arizona (Gazette) fare like “Longer,” “Same Old Lang Syne,” “Hard to 11. Beggar’s Game • Also Includes Hits Like “Longer,” “Same Old Lang Say,” and “Leader of the Band,” to more idiosyncratic 12. -
Joe Walsh Saturday, September 1
FOR IMMEDIATE RELEASE APRIL 17, 2012 RIVER ROCK CASINO RESORT & CLASSIC ROCK 101 PRESENT JOE WALSH SATURDAY, SEPTEMBER 1 Richmond, BC – Best known for his popular guitar licks, musician Joe Walsh has entertained the masses and captivated his peers for more than three decades with such classics as “Funk #49”, “Walk Away”, “Life’s Been Good”, “A Life of Illusion” and “Ordinary Average Guy”. Walsh had played with many bands but it wasn’t until 1969 when he joined the Cleveland based power trio, The James Gang that he got a taste of sweet success. The Gang released four albums in the early 70’s … two of which went gold. Joe then decided to head west to Colorado where he put together the trio, Barnstorm in 1972 and released two albums. Still feeling there was something more for him, Joe released his first solo album in 1974. So What proved Joe a legitimate solo act with a limitless career on the horizon. Then in 1976, he was asked by the Eagles to replace guitarist Bernie Leadon bringing a harder rock sound to the group. At the end of the year, they released their fifth studio album, Hotel California which went gold reaching #1 on the Billboard Charts followed by The Long Run (1979) and Eagles Live (1980) reaching Billboard’s #1 and #6 respectively. At the same time, Joe released two solo albums ...You Can’t Argue With a Sick Mind (1976) and But Seriously Folks (1978) which boasted the notorious hit, “Life’s Been Good”. During the 14-year hiatus of the Eagles, Joe focussed on his solo career releasing several albums including There Goes The Neighborhood (1981), The Confessor (1985) and Ordinary Average Guy (1991). -
Dedicated to the Needs of the Music/Rec Albums
DEDICATED TO THE NEEDS OF THE MUSIC/REC STRY SEPTEMBER 10, (977 $1.75 SINGLES ALBUMS RITA COOLIDGE, "WE'RE ALL ALONE" (prod. by ALAN O'DAY, "STARTED OUT DANCING, LINDA RONSTADT, "SIMPLE DREAMS." David Anderle) (writer: Boz Scaggs) ENDED UP MAKING LOVE" (prod. by From the album artwork to the record (Boz Scaggs, ASCAP) (3:38). This Steve Barri) (writer: O'Day) (WB, contained within, this is Ronstadt's superb Scaggs ballad was never a ASCAP) (3:21). "Undercover Angel" finest achievement to date. She is in single for the writer, but should be brought O'Day to number one with classic form with Roy Orbison's "Blue Coolidge's second straight pop hit. his first record, and this disco -ori- Bayou," Buddy Holly's "It's So Eeasy" She sings it with feeling and re- ented 'ollow-up has the same play- and the Stones' "Tumbling Dice" while straint. With her album in the top 20, ful eroticism and hook -filled struc- the ballads reflect an introspective side top 40 should react quickly. A&M ture. Look for a speedy chart return. with a sparse arrangement underpin- 1965. Pacific 002 (Atlantic). ning her voice. Asylum 6E-104 (7.98). JIMMY BUFFETT, "CHANGES IN LATITUDES, ART GARFUNKEL, "CRYING IN MY SLEEP" DARYL HALL AND JOHN OATES, CHANGES IN ATTITUDES" (prod. by (prod. by Art Garfunkel & Barry "BEAUTY ON A BACKSTREET." The Norbert Putnam) (writer: Jimmy Buf- Beckett) (writer: Jimmy Webb) (Can- group continues to ride the peak of fett) (Coral Reefer / Outer Banks, opy, ASCAP) (4:00). The first offering their success with this strong follow-up BMI) (3:15). -
WARNER BROS. / WEA RECORDS 1970 to 1982
AUSTRALIAN RECORD LABELS WARNER BROS. / WEA RECORDS 1970 to 1982 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, APRIL 2019 WARNER BROS. / WEA RECORDS, 1970–1982 A BRIEF WARNER BROS. / WEA HISTORY WIKIPEDIA TELLS US THAT... WEA’S ROOTS DATE BACK TO THE FOUNDING OF WARNER BROS. RECORDS IN 1958 AS A DIVISION OF WARNER BROS. PICTURES. IN 1963, WARNER BROS. RECORDS PURCHASED FRANK SINATRA’S REPRISE RECORDS. AFTER WARNER BROS. WAS SOLD TO SEVEN ARTS PRODUCTIONS IN 1967 (FORMING WARNER BROS.-SEVEN ARTS), IT PURCHASED ATLANTIC RECORDS AS WELL AS ITS SUBSIDIARY ATCO RECORDS. IN 1969, THE WARNER BROS.-SEVEN ARTS COMPANY WAS SOLD TO THE KINNEY NATIONAL COMPANY. KINNEY MUSIC INTERNATIONAL (LATER CHANGING ITS NAME TO WARNER COMMUNICATIONS) COMBINED THE OPERATIONS OF ALL OF ITS RECORD LABELS, AND KINNEY CEO STEVE ROSS LED THE GROUP THROUGH ITS MOST SUCCESSFUL PERIOD, UNTIL HIS DEATH IN 1994. IN 1969, ELEKTRA RECORDS BOSS JAC HOLZMAN APPROACHED ATLANTIC'S JERRY WEXLER TO SET UP A JOINT DISTRIBUTION NETWORK FOR WARNER, ELEKTRA, AND ATLANTIC. ATLANTIC RECORDS ALSO AGREED TO ASSIST WARNER BROS. IN ESTABLISHING OVERSEAS DIVISIONS, BUT RIVALRY WAS STILL A FACTOR —WHEN WARNER EXECUTIVE PHIL ROSE ARRIVED IN AUSTRALIA TO BEGIN SETTING UP AN AUSTRALIAN SUBSIDIARY, HE DISCOVERED THAT ONLY ONE WEEK EARLIER ATLANTIC HAD SIGNED A NEW FOUR-YEAR DISTRIBUTION DEAL WITH FESTIVAL RECORDS. IN MARCH 1972, KINNEY MUSIC INTERNATIONAL WAS RENAMED WEA MUSIC INTERNATIONAL. DURING THE 1970S, THE WARNER GROUP BUILT UP A COMMANDING POSITION IN THE MUSIC INDUSTRY. IN 1970, IT BOUGHT ELEKTRA (FOUNDED BY HOLZMAN IN 1950) FOR $10 MILLION, ALONG WITH THE BUDGET CLASSICAL MUSIC LABEL NONESUCH RECORDS. -
The Ben Gray Lumpkin Collection of Colorado Folklore
Gene A. Culwell The Ben Gray Lumpkin Collection of Colorado Folklore Professor Ben Gray Lumpkin, who retired from the University of Colorado in June of 1969, spent more than twenty years of his academic career amassing a large collection of folksongs in the state of Colorado. At my request, Profes- sor Lumpkin provided the following information concerning his life and career: Son of John Moorman and Harriet Gray Lumpkin, I was born De- cember 25, 1901, in Marshall County, Mississippi, on a farm about seven miles north of Holly Springs. Grandpa was a Methodist cir- cuit rider, but had to farm to eke out a living because his hill-coun- try churches were too poor to support his family. Because we lived too far from the Hudsonville school for me to walk, I began schooling under my mother until I was old enough to ride a gentle mare and take care of her at school—at the age of 8. When my father bought a farm in Lowndes County, Mississippi, my brother Joe and sister Martha and I went to Penn Station and Crawford elementary schools. Having finished what was called the ninth grade, I went to live with my Aunt Olena Ford, and fin- ished Tupelo High School in 1921, then BA, University of Missis- sippi, 1925. I worked as the secretary and clerk in the Mississippi State Department of Archives and History (September 1925 to March 1929) and in the Mississippi Division office of Southern Bell Telephone Company (March 1929 to August 1930). I taught English and other subjects in Vina, Alabama, High School (August 1930 through January 1932). -
Nitty Gritty Dirt Band
NITTY GRITTY DIRT BAND With a refreshed lineup and newfound energy, The Nitty Gritty Dirt Band remains one of the most accomplished bands in American roots music. Following an extended 50th anniversary tour, the ensemble grew to a six-piece in 2018 for the first time since their early jug band days. The group now includes Jeff Hanna (acoustic guitar, electric guitar), Jimmie Fadden (drums, harmonica), Bob Carpenter (keyboards), Jim Photoglo (bass, acoustic guitar), Ross Holmes (fiddle, mandolin), and Jaime Hanna (electric and acoustic guitar). All six members also sing, and when their voices merge, the harmonies add a powerful new component for the legendary band. And with the father-son pairing of Jeff and Jaime Hanna, the band carries on a country music tradition of blood harmony. Jeff Hanna says, “It’s like when you throw a couple of puppies into a pen with a bunch of old dogs. All of a sudden, the old dogs start playing, you know? That’s kind of what’s happened with us. The basic vibe is so up and positive, and the music– we’re hearing surprises from Jaime and Ross all night. And they’re encouraging us in the same way to take more chances. It’s opened a lot of doors for us, musically, and the morale is really great. That’s important for a band that’s been out there for over 53 years.” The Nitty Gritty Dirt Band played their first gig in 1966 in Southern California as a jug band and by 1969 had become a cornerstone of the burgeoning country-rock community. -
The Scottsville Squirrel Barkers, from the Blue Guitar to Country Rock
THE SCOTTSVILLE SQUIRREL BARKERS, FROM THE BLUE GUITAR TO COUNTRY ROCK In the early 60’s the “folk music revival” was having a strong impact on bluegrass music across the country. In 1959 The Stanley Brothers had played the Newport Folk Festival and in 1960 both The Stanleys and The Osborne Brothers performed at Antioch College in Ohio. In 1962 The Stanley Brothers played at Oberlin College and that same year Lester Flatt and Earl Scruggs recorded a project entitled Folksongs of our Land which included 2 songs written by Woody Guthrie. These were not isolated incidents as many of the established bands as well as some regional groups were taking advantage of the interest in their music among a new generation of urban youth. Many would argue that the music was diminished by these efforts to appeal to the folk music fans, particularly the changes in repertoire, but there was no question that it’s popularity was increasing. Bluegrass was attracting new disciples to new venues in new areas of the country. One of those places was San Diego, California where a group of young men from different backgrounds were gathering to make music. Although the group was an amalgam of musical genres from folk to flamenco, one sub- group was drawn to traditional bluegrass and the individuals in this group were destined to make their mark on the soon to be born genre of country rock. That group, formed in 1962, was the Scottsville Squirrel Barkers . Bernie Leadon, contemporary of the Squirrel Barkers and later founding member of the Eagles was living in San Diego at the time and in an e-mail interview described one component of the community which would have readily embraced the sounds of bluegrass and talked about his introduction to the music scene. -
Corey's Top 10 2018 Concerts
Corey's Top 10 2018 Concerts As 2018 ends and we look forward to 2019, I share my top ten concerts for the past year. This represents the eighth installment in this “series.” This past year, my wife me joined for six of shows that I include this year. I averaged almost two shows a month (I’d prefer more.) Several – including many good ones not on this list – featured multiple artists who could headline in their own right; that certainly made the overall experience closer to the feel attending something 30 to 40 shows when the actually number of shows totaled 23. The other nice factoid because it rarely works out that way involved how many shows (including a few not reviewed here) involved real faves of this commentator; this includes probably the five top artists I follow (though in three cases not with the original bands that caused me to follow their music. 1) I grew up loving the music of Creedence Clearwater Revival. That means songs written, and/ or arranged, produced and sung by one John C. Fogerty. Those songs rock and the solo stuff just follow with the standard John set with CCR. His band is great and includes his son Shane on 2nd guitar. Indeed, family seemed to be a common theme in a number of great shows I took in this year. It was certainly the best performance I ever experienced to date (and I blogged as such), not just by John, and no offense to other artists who really sang and played their hearts out at other shows I saw.