DOCSLIB.ORG

The Sugar Shoppe the Sugar Shoppe Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Sugar Shoppe the Sugar Shoppe Mp3, Flac, Wma The Sugar Shoppe The Sugar Shoppe mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop Album: The Sugar Shoppe Country: UK Released: 2013 Style: Easy Listening, Vocal MP3 version RAR size: 1914 mb FLAC version RAR size: 1871 mb WMA version RAR size: 1786 mb Rating: 4.6 Votes: 264 Other Formats: ADX MMF MP4 ASF AU MPC VQF Tracklist Hide Credits The Original Album Skip-a-long Sam 1 3:00 Written-By – Donovan Leitch* The Attitude 2 2:18 Written-By – Peter Mann Baby Baby 3 3:18 Written-By – Helen Lewis, Kay Lewis Take Me Away 4 2:59 Written-By – Jackie Trent, Tony Hatch Let The Truth Come Out 5 2:57 Written-By – Peter Mann Follow Me (From "Camelot") 6 2:30 Written-By – F. Loewe - A.J. Lerne* Poor Papa 7 2:24 Written-By – Billy Rose, Harry Woods Privilege (From The Film "Privilege") 8 3:08 Written-By – Michael Leander* Papa, Won't You Let Me Go To Town With You 9 3:30 Written-By – Bobbie Gentry The Candy Children Song 10 2:35 Written-By – L. Hood*, P. Mann*, V. Garber* Hangin' Together 11 2:29 Written-By – L. Hood*, P. Mann*, V. Garber* The Bonus Tracks Skip A Long Sam (Mono 45) 12 3:02 Written-By – Donovan Leitch* Let The Truth Come Out (Mono 45) 13 2:59 Written-By – Peter Mann Privilege (From The Film "Privilege") (Mono 45) 14 3:12 Written-By – Michael Leander* Poor Papa (Mono 45) 15 2:26 Written-By – Billy Rose, Harry Woods Save The Country (Acetate) 16 3:04 Written-By – Laura Nyro Easy To Be Hard (Acetate) 17 3:51 Written-By – G. MacDermot*, G. Ragni*, J. Rado* Charlie And Fred (Live) 18 2:17 Written-By – H. Clarke*, G. Nash* Companies, etc. Phonographic Copyright (p) – Capitol Records, LLC Copyright (c) – Now Sounds Record Company – Cherry Red Records Ltd. Licensed From – EMI Records Ltd. Credits Arranged By – Mort Garson Arranged By [Vocal Arranger] – Peter Mann Band – Laurie Hood, Lee Harris , Peter Mann , Victor Garber Bass – Carol Kaye, Don Bagley Cello – Anne Goodman, Armand Kaproff, Frederick Seykora, Nathan Gershman Compilation Producer, Liner Notes, Art Direction, Layout – Steve Stanley Drums – Earl Palmer, Stan Levey Drums, Vibraphone, Percussion – Hal Blaine Guitar – Al Casey , Al Viola, Howard Robert, Louis Morrell*, Mike Deasy Harp – Stella Castellucci Mastered By [Reissue] – Alan Brownstein Piano, Keyboards – Al De Lory, Larry Knechtel, Michael Rubini* Producer – Al De Lory Saxophone – Abe Most, Jim Horn, Plas Johnson Sitar – Bill Plummer Trombone – Lew McCreary, Louis Blackburn* Trumpet – Lewis Carroll* Vibraphone, Percussion – Gary Coleman Violin, Viola – Alfred Lastgarten*, Arnold Belnick, Harry Hyams, Henry Roth, Israel Baker, James Getzoff, Marshall Sasson*, Nathan Ross, Sam Boghossian*, William Hymanson Notes 'The Sugar Shoppe' was originally released in September 1968 as Capitol Records ST 2959 (Stereo). This reissue brings 7 bonus tracks (tracks 12 to 18). From the back cover: ℗ 2013 Digital Remaster ℗ 1968 The copyright in this sound recording is owned by Capitol Records. LLC. Tracks 1-15 licensed courtesy of EMI Records Ltd. Tracks 16-18 licensed courtesy of Sugar Shoppe. This compilation © 2013 Now Sounds, a division of Cherry Red Records Ltd. Barcode and Other Identifiers Barcode: 5013929064126 Other versions Category Artist Title (Format) Label Category Country Year The Sugar The Sugar Shoppe (LP, ST-2959 Capitol Records ST-2959 US 1968 Shoppe Album) The Sugar The Sugar Shoppe (LP, ST-2959 Capitol Records ST-2959 US 1968 Shoppe Album, Los) The Sugar The Sugar Shoppe (LP, ST-50507 Capitol Records ST-50507 Uruguay 1969 Shoppe Album) The Sugar The Sugar Shoppe (LP, ST-2959 Capitol Records ST-2959 US 1968 Shoppe Album) The Sugar The Sugar Shoppe (LP, ST 2959 Capitol Records ST 2959 South Africa 1968 Shoppe Album) Related Music albums to The Sugar Shoppe by The Sugar Shoppe 1. Herbie Mann - Flautista! Herbie Mann Plays Afro-Cuban Jazz 2. Herbie Mann - The Evolution Of Mann 3. Carl Mann - Carl Mann 4. Herbie Mann - The Evolution Of Mann - The Herbie Mann Anthology 5. Danny Mann - Ich Seh's Jedem Mann An Den Augen An 6. Manfred Mann - Mighty Garvey! 7. Maria Und Franco Duval - So Ein Mann Wie Papa 8. Margit Schumann Und Die Ping Pongs - Nicht So Schüchtern, Junger Mann / Papa Liebt Die Mama 9. Flower Shoppe - You've Come A Long Way Baby 10. Herbie Mann - Stone Flute.
Load more

Recommended publications
  • Good Vibrations Sessions. from Came Our Way on Cassette from California, and We “Unsurpassed Masters Vol
    Disc 2 231. George Fell Into His French Horn 201. Good Vibrations Sessions The longest version yet heard, and in stereo. This Tracks 1 through 28 - Good Vibrations Sessions. From came our way on cassette from California, and we “Unsurpassed Masters Vol. 15”, but presenting only the last, digitally de-hissed it. best and most complete attempt at each segment. 232. Vegetables (Alternate lyric and arrangement) Track 202. Good Vibrations Sessions Another track from the California cassettes. This Track 203. Good Vibrations Sessions version has significant lyric and arrangement Track 204. Good Vibrations Sessions differences. Track 205. Good Vibrations Sessions Track 206. Good Vibrations Sessions 233. Surf’s Up Sessions Track 207. Good Vibrations Sessions While not full fidelity, this has the best sound yet, Track 208. Good Vibrations Sessions and a bit of humorous dialogue between Brian Track 209. Good Vibrations Sessions Wilson and session bassist Carol Kaye. From the Track 210. Good Vibrations Sessions California cassetes, and now digitally de-hissed. Track 211. Good Vibrations Sessions Track 212. Good Vibrations Sessions 234. Wonderful Track 213. Good Vibrations Sessions Beach Boys incomplete vocal attempt. Track 214. Good Vibrations Sessions Track 215. Good Vibrations Sessions 235. Child is Father to The Man Track 216. Good Vibrations Sessions Beach Boys incomplete vocal attempt. Tracks 234 Track 217. Good Vibrations Sessions and 235 are from the Japanese “T-2580” “Smile” Track 218. Good Vibrations Sessions bootleg and now digitally de-hissed. Track 219. Good Vibrations Sessions Track 220. Good Vibrations Sessions 236. Heroes & Villains Part Two (Original mono Track 221. Good Vibrations Sessions mix) Track 222.
    [Show full text]
  • Piano • Vocal • Guitar • Folk Instruments • Electronic Keyboard • Instrumental • Drum ADDENDUM Table of Contents
    MUsic Piano • Vocal • Guitar • Folk Instruments • Electronic Keyboard • Instrumental • Drum ADDENDUM table of contents Sheet Music ....................................................................................................... 3 Jazz Instruction ....................................................................................... 48 Fake Books........................................................................................................ 4 A New Tune a Day Series ......................................................................... 48 Personality Folios .............................................................................................. 5 Orchestra Musician’s CD-ROM Library .................................................... 50 Songwriter Collections ..................................................................................... 16 Music Minus One .................................................................................... 50 Mixed Folios .................................................................................................... 17 Strings..................................................................................................... 52 Best Ever Series ...................................................................................... 22 Violin Play-Along ..................................................................................... 52 Big Books of Music ................................................................................. 22 Woodwinds ............................................................................................
    [Show full text]
  • Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
    1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N.
    [Show full text]
  • Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
    STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach.
    [Show full text]
  • TOTO: the Synth Statesmen of Progressive Pop Return Slideshow
    Keyboard Guitar Player Bass Player Electronic Musician Guitar Aficianado Guitar World Mi Pro Music Week Revolver More... AV/PRO AUDIO Audio Media Audio Pro AV Technology Installation Mix Pro Sound News Pro Sound News Europe Residential Systems BROADCAST/RADIO/TV/VIDEO Broadcast & Production Digital Video Government Video Licensing.biz Radio Magazine Radio World CONSUMER ELECTRONICS/GAMING Bike Biz Develop MCV Mobile Entertainment PCR Toy News EDUCATION Edu Wire School CIO Tech & Learning Pubs Guitar Player Search Keyboardmag.com Search Keyboardmag.com Like 755 Follow @keyboardmag Gear Artists Lessons Blogs Video Store Subscribe! Search Keyboardmag.com Gear Artists Lessons Blogs Video Store Subscribe! Gear Keys and Synths Virtual Instruments Live and Studio Accessories News Contests! Native Instruments introduces Symphony Series Brass Console maker Harrison has a $79 DAW that goes up against the big boys MoMinstruments Elastic Drums app reviewed Artists Features Reviews News Martin Gore goes crazy for classic and modular synths on his new solo album TOTO: The Synth Statesmen of Progressive Pop Return Cameron Carpenter plays “Singing in the Rain” Lessons Play Like … Theory Technique How To Keyboard 101 Style Learn Gregg Allman’s classic rock organ style in 5 easy steps Get bigger, better synth pads with these 5 simple techniques 5 ways to play like Jimmy McGriff Blogs Video Store SUBSCRIBE! All Access Subscription Tablet Subscriptions Renew Customer Service Give a Gift Newsletter Subscription TOTO: The Synth Statesmen of Progressive Pop Return BY JERRY KOVARSKY July 13, 2015 Their stats are staggering. The members of Toto have collectively performed on over 500 albums over the course of 38 years, amassing over half a billion unit sales and 200 Grammy nominations.
    [Show full text]
  • 1993 February 24, 25, 26 & 27, 1993
    dF Universitycrldaho LIoNEL HmPToN/CHEVRoN JnzzFrsrr\Al 1993 February 24, 25, 26 & 27, 1993 t./¡ /ìl DR. LYNN J. SKtNNER, Jazz Festival Executive Director VtcKt KtNc, Program Coordinator BRTNoR CAtN, Program Coordinator J ¡i SusnN EHRSTINE, Assistant Coordinator ltl ñ 2 o o = Concert Producer: I É Lionel Hampton, J F assisted by Bill Titone and Dr. Lynn J. Skinner tr t_9!Ð3 ü This project is supported in part by a grant from the National Endowment for the Arts We Dedicate this 1993 Lionel Hømpton/Chevron Jøzz Festivül to Lionel's 65 Years of Devotion to the World of Juzz Page 2 6 9 ll t3 r3 t4 l3 37 Collcgc/Univcrsity Compctition Schcdulc - Thursday, Feh. 25, 1993 43 Vocal Enserrrbles & Vocal Conrbos................ Harnpton Music Bldg. Recital Hall ...................... 44 45 46 47 Vocal Compctition Schcrlulc - Fridav, Fcli. 2ó, 1993 AA"AA/AA/Middle School Ensenrbles ..... Adrrrin. Auditoriunr 5l Idaho Is OurTenitory. 52 Horizon Air has more flights to more Northwest cities A/Jr. High/.Ir. Secondary Ensenrbles ........ Hampton Music Blclg. Recital Hall ...............,...... 53 than any other airline. 54 From our Boise hub, we serve the Idaho cities of Sun 55 56 Valley, Idaho Falls, Lewiston, MoscowÆullman, Pocatello and AA/A/B/JHS/MIDS/JR.SEC. Soloists ....... North Carnpus Cenrer ll ................. 57 Twin Falls. And there's frequent direct service to Portland, lnstrurncntal Corupctilion'Schcrlulc - Saturday, Fcll. 27, 1993 Salt Lake City, Spokane and Seattle as well. We also offer 6l low-cost Sun Valley winter 8,{. {ÀtûåRY 62 and summer vacation vt('8a*" å.t. 63 packages, including fOFT 64 airfare and lodging.
    [Show full text]
  • The Wrecking Crew—Whether You Knew It Or Not
    HISTORY JUNE 2012 Kent Hartman “You are in for a big surprise!” —Dusty street The Inside StoryWrecking of Rock and Roll’s Best-Kept Crew Secret Part Hit Men and part Laurel Canyon, this hidden history of rock and roll chronicles the uncredited studio musi- cians who provided the soundtrack for a generation dur- ing the 1960s and 1970s. If you were a fan of popular music in the 1960s and early ’70s, you were a fan of the Wrecking Crew—whether you knew it or not. On hit record after hit record by everyone from the Byrds, the Beach Boys, and the Monkees to the Grass Roots, the 5th Dimension, Sonny & Cher, and Simon & Garfunkel, this collection of West Coast studio musicians from diverse backgrounds established themselves as the driving sound of pop music—sometimes over the objection of actual band members forced to make way for Wrecking Crew members. Industry insider Kent Hartman tells the dramatic, definitive story of the musicians who forged a reputation throughout the business as the secret weapons behind the top recording stars. Mining invaluable interviews, the author follows the Read by Dan John Miller careers of such session masters as drummer Hal Blaine Category: History/Music and keyboardist Larry Knechtel, as well as trailblazing Running Time: 10 hrs 30 min - Unabridged bassist Carol Kaye. Listeners will discover the Wrecking Hardcover: 02/14/2012 (35,000 Thomas Dunne Books) Territory: US and Canada Crew members who would forge careers in their own right, On Sale Date: 06/18/2012 including Glen Campbell and Leon Russell, and learn of Trade 9781452608068 9 Audio CDs $39.99 the relationship between the Crew and such legends as Phil Library 9781452638065 9 Audio CDs $83.99 Spector and Jimmy Webb.
    [Show full text]
  • Toto's Shannon Forrest
    WORTH WIN A TAMA/MEINL PACKAGE MORE THAN $6,000 THE WORLD’S #1 DRUM MAGAZINE 25 GR E AT ’80s DRUM TRACKS Toto’s Shannon ForrestThe Quest For Excellence NEW GEAR REVIEWED! BOSPHORUS • ROLAND • TURKISH OCTOBER 2016 + PLUS + STEVEN WOLF • CHARLES HAYNES • NAVENE KOPERWEIS WILL KENNEDY • BUN E. CARLOS • TERENCE HIGGINS PURE PURPLEHEARTTM 12 Modern Drummer June 2014 CALIFORNIA CUSTOM SHOP Purpleheart Snare Ad - 6-2016 (MD).indd 1 7/22/16 2:33 PM ILL SURPRISE YOU & ILITY W THE F SAT UN VER WIL HE L IN T SP IR E Y OU 18" AA SICK HATS New Big & Ugly Big & Ugly is all about sonic Thin and very dry overall, 18" AA Sick Hats are 18" AA Sick Hats versatility, tonal complexity − surprisingly controllable. 28 holes allow them 14" XSR Monarch Hats and huge fun. Learn more. to breathe in ways other Hats simply cannot. 18" XSR Monarch With virtually no airlock, you’ll hear everything. 20" XSR Monarch 14" AA Apollo Hats Want more body, less air in your face, and 16" AA Apollo Hats the ability to play patterns without the holes 18" AA Apollo getting in your way? Just flip ‘em over! 20" AA Apollo SABIAN.COM/BIGUGLY Advertisement: New Big & Ugly Ad · Publication: Modern Drummer · Trim Size: 7.875" x 10.75" · Date: 2015 Contact: Luis Cardoso · Tel: (506) 272.1238 · Fax: (506) 272.1265 · Email: [email protected] SABIAN Ltd., 219 Main St., Meductic, NB, CANADA, E6H 2L5 YOUR BEST PERFORMANCE STARTS AT THE CORE At the core of every great performance is Carl Palmer's confidence—Confidence in your ability, your SIGNATURE 20" DUO RIDE preparation & your equipment.
    [Show full text]
  • Johnny Rivers
    Johnny Rivers... Chart Hits Include: * 17 Gold records * 29 chart hits * Two Grammy Awards, Memphis * Sold more than 30 million records * In 2006, the Maybelline singer/songwriter/producer continues to perform before sell- Mountain of Love out crowds worldwide. *The “Secret Agent Man” has many other accomplishments and has made significant Midnight Special contributions to the history of rock ‘n roll. Seventh Son Where Have All the Flowers Gone • Born in New York City, grew up in Baton Rouge, Louisiana. Secret Agent Man • Began playing professionally at age 14 when he formed his first band, Poor Side of Town “Johnny and The Spades.” Baby, I Need Your Lovin’ • Recorded his first single 1957 for Suede Records of Natchez, MS, at Tracks of My Tears Cosmos Studios in New Orleans. “Hey Little Girl” became a regional Summer Rain chart hit. Look to Your Soul • In late 1957 at age 15, Johnny Ramistella went back to New York City Rockin’ Pneumonia – Boogie Woogie Flu where he met the legendary D.J. Alan Freed, who got him a record deal Sea Cruise with Gone Records and changed his last name to Rivers. Blue Suede Shoes • In 1958, while performing on the “Louisiana Hayride” in Shreveport, LA, Help Me Rhonda Rivers was introduced to Ricky Nelson’s guitar player James Burton, who Slow Dancin’ took a song Rivers wrote, “I’ll Make Believe,” back to Hollywood and played it for Nelson who recorded it. Rivers hopped a plane from New Curious Mind Orleans to Los Angeles where he hooked up with Burton, met Ricky Nelson and struck up a friendship.
    [Show full text]
  • By Ro6 Bowman
    SteveS I D E M E N H Douglas By Ro6 Bowman — lthough f e w f a n s k n e w s t e v e d o u g l a s b y After Douglas left Eddy in i960, he became an in- name, the sound of his muscular, R&B- demand session player on a cornucopia of R&B, rock inflected baritone and tenor sax playing and pop sessions. Douglas also led a band that includ­ was an essential ingredient of innumerable ed Spector as lead vocalist and guitarist. The band Alate-Fifties and early-Sixties hits, including the Ven­ broke up when Spector headed to New York in 1961. tures’ “Walk - Don’t Run,” Bob & Earl’s “Harlem Shuf­ W ithin a year, Spector had started Philles Records and fle,” the Crystals’ “He’s a Rebel,” the Beach Boys’ “Shut was flying Douglas to the East Coast to overdub his Down” and Jan & Dean’s “The Little Old Lady (From earthy sax tones on the earliest Crystals recordings. Pasadena).” In fact, virtually every sax solo on a rock W hen Spector elected to move Philles to Los Angeles, record emanating from Los Angeles in the first half of he tapped Douglas to put together a session band that the 1960s was played b y Steve Douglas, and every sub­ included Hal Blaine, pianists Leon Russell and Don sequent saxophonist in rock history, from Denny Pay- Randi, bassist Ray Pohlman (replaced by Carol Kaye ton of the Dave Clark Five to Clarence Clemons o f the after his death) and guitarists Glen Campbell, E Street Band, owes a significant debt to Douglas’s pal­ Howard Roberts and Tommy Tedesco.
    [Show full text]
  • Off the Beaten Track
    Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center, our multimedia, folk-related archive). All recordings received are included in Publication Noted (which follows Off the Beaten Track). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention Off The Beaten Track. Sincere thanks to this issues panel of musical experts: Roger Dietz, Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Andy Nagy, Angela Page, Mike Regenstreif, Peter Spencer, Michael Tearson, Rich Warren, Matt Watroba, Elijah Wald, and Rob Weir. liant interpretation but only someone with not your typical backwoods folk musician, Jodys skill and knowledge could pull it off. as he studied at both Oberlin and the Cin- The CD continues in this fashion, go- cinnati College Conservatory of Music. He ing in and out of dream with versions of was smitten with the hammered dulcimer songs like Rhinordine, Lord Leitrim, in the early 70s and his virtuosity has in- and perhaps the most well known of all spired many players since his early days ballads, Barbary Ellen. performing with Grey Larsen. Those won- To use this recording as background derful June Appal recordings are treasured JODY STECHER music would be a mistake. I suggest you by many of us who were hearing the ham- Oh The Wind And Rain sit down in a quiet place, put on the head- mered dulcimer for the first time.
    [Show full text]
  • An Investigation of the Electric Bass Guitar in Twentieth Century Popular Music and Jazz
    An investigation of the electric bass guitar in Twentieth Century popular music and jazz. A thesis presented by David Stratton in partial fulfillment of the requirement for the degree, Master of Arts (Honours). School of Contemporary Arts College of Arts, Education, and Social Sciences University of Western Sydney April 2005 i Abstract The acoustic bass played mostly an accompanying role in popular music during the first half of the Twentieth Century, whereas the arrival of the electric bass guitar in the early 1950s presented new opportunities for acoustic bassists and musicians, composers, producers, engineers, the recording industry and the listening public. The distinctive sound of the electric bass guitar encouraged musicians to explore new timbres. The musicians who embraced the electric bass guitar developed its language, discovering and employing different techniques. The instrument became a catalyst for change and took on a more prominent role, forever changing the sonic landscape of popular music and jazz in the Twentieth Century. ii Acknowledgements I am indebted to the following people for their assistance during the period of my candidature: For technical support I thank Karl Lindbom, Paul Tilley, Clive Lendich, Benjamin Huie, Gary Fredericks and Brendan Read. The musicians who performed with me - Michael Bartolomei, Graham Jesse, Andrew Gander, Craig Naughton, Gordon Rytmeister, Nicholas McBride, Paul Panichi and Matthew Doyle. Kerrie Lester and Nikki Mortimer for granting permission to reproduce the paintings and etching. The musicians with whom I discussed my project, including Herbie Flowers, Carol Kaye, Max Bennett, Steve Hunter, Cameron Undy, Bruce Cale and Sandy Evans who have willingly encouraged me to quote.
    [Show full text]