BWTB Jan. 24Th 2016
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Elvis Costello Began Writing Songs at the Age of Thirteen. 2017 Marked the 40Th Anniversary of the Release of His First Record Album, My Aim Is True
Elvis Costello began writing songs at the age of thirteen. 2017 marked the 40th anniversary of the release of his first record album, My Aim Is True. He is perhaps best known for the songs, “Alison”, “Pump It Up”, “Everyday I Write The Book” and his rendition of the Nick Lowe song, “(What’s So Funny ‘Bout) Peace Love and Understanding”. His record catalogue of more than thirty albums includes the contrasting pop and rock & roll albums: This Year’s Model, Armed Forces, Imperial Bedroom, Blood and Chocolate and King Of America along with an album of country covers, Almost Blue and two collections of orchestrally accompanied piano ballads, Painted From Memory - with Burt Bacharach and North. He has performed worldwide with his bands, The Attractions, His Confederates - which featured two members of Elvis Presley’s “T.C.B” band - and his current group, The Imposters – Steve Nieve, Pete Thomas and Davey Faragher - as well as solo concerts, most recently his acclaimed solo show, “Detour”. Costello has entered into songwriting collaborations with Paul McCartney, Burt Bacharach, the Brodsky Quartet and with Allen Toussaint for the album The River In Reverse, the first major label recording project to visit New Orleans after Hurricane Katrina and completed there while the city was still under curfew. In 2003, Costello acted as lyrical editor of six songs written with his wife, the jazz pianist and singer Diana Krall for her album, The Girl In The Other Room. He has written lyrics for compositions by Charles Mingus, Billy Strayhorn and Oscar Peterson and musical settings for words by W.B. -
Father/Daughter – Mother/Son Dance Music Ideas
Father/Daughter – Mother/Son Dance Music Ideas Father/Daughter Dance Mother/Son Dance 1 Heartland I Loved Her First 1 Rascal Flatts My Wish 2 Mcgraw, Tim My Little Girl 2 Armstrong, Louis What A Wonderful World 3 Temptations My Girl 3 Lynyrd Skynyrd Simple Man 4 Carlisle, Bob Butterfly Kisses 4 Boyz II Men A Song For Mama 5 Rascal Flatts My Wish 5 Womack, Lee Ann I Hope You Dance 6 Armstrong, Louis What A Wonderful World 6 Beatles In My Life 7 Chapman, Steven Curtis Cinderella 7 Morrison, Van Days Like This 8 Sinatra, Frank The Way You Look Tonight 8 Dion, Celine Because You Loved Me 9 Wonder, Stevie Isn't She Lovely 9 Collins, Phil You'll Be In My Heart 10 Beatles In My Life 10 Kamakawiwo'ole, Israel 'Iz' Over The Rainbow 11 Simon, Paul Father And Daughter 11 Brooks, Garth Mom 12 Mccain, Edwin Walk With You 12 Stewart, Rod Forever Young 13 Cole, Natalie With Nat King Cole Unforgettable 13 Chesney, Kenny Don't Blink 14 Mayer, John Daughters 14 King, Ben E. Stand By Me 15 Adkins, Trace Just Fishin' 15 Stewart, Rod Have I Told You Lately 16 Fleetwood Mac Landslide 16 Brickman, Jim Lady Antebellum Never Alone 17 Dion, Celine Because You Loved Me 17 Church, Eric Like Jesus Does 18 Kamakawiwo'ole, Israel 'Iz' Over The Rainbow 18 Groban, Josh You Raise Me Up 19 Morrison, Van Brown Eyed Girl 19 Fleetwood Mac Landslide 20 Clapton, Eric Wonderful Tonight 20 Mraz, Jason 93 Million Miles 21 King, Ben E. -
Show #1276 --- Week of 6/24/19-6/30/19
Show #1276 --- Week of 6/24/19-6/30/19 HOUR ONE--SEGMENTS 1-3 SONG ARTIST LENGTH ALBUM LABEL________________ SEGMENT ONE: "Million Dollar Intro" - Ani DiFranco :55 in-studio n/a "The Luckiest"-Ben Folds 4:20 Rockin’ The Suburbs Epic "Atlantic"-Kelsey Lu 3:10 Blood Columbia "Hard Way"-Jamestown Revival 3:15 San Isabel Thirty Tigers "Hardwired"-Hailey Knox (in-studio) 3:25 in-studio n/a ***MUSIC OUT AND INTO: ***NATIONAL SPONSOR BREAK*** New West Records/Buddy & Julie Miller "Breakdown On 20th Ave. South" (:30) Outcue: " at NewWestRecords.com." TOTAL TRACK TIME: 16:52 ***PLAY CUSTOMIZED STATION ID INTO: SEGMENT TWO: "Turn Off The News (Build A Garden)"-Promise Of The Real 3:00 Turn Off The News (Build A Garden) Fantasy ***INTERVIEW & MUSIC: RODRIGO y GABRIELA ("Kratona Days," "Electric Soul") in-studio interview/performance n/a ***MUSIC OUT AND INTO: ***NATIONAL SPONSOR BREAK*** The Ark/"Monthly Schedule" (:30) Outcue: " TheArk.org." TOTAL TRACK TIME: 20:00 SEGMENT THREE: "Weak Wrists"-Elissa LeLeCoque (Song.Writer podcast) 3:30 Perspective self-released "Heavy On My Mind"-Mavis Staples 3:40 We Get By Anti- "Pull You Close"-JR JR 3:55 Invocations/Conversations Love Is EZ "Walter Reed"-Michael Penn (in-studio) 3:40 in-studio n/a ***MUSIC OUT AND INTO: ***NATIONAL SPONSOR BREAK*** Leon Speakers/"The Leon Loft" (:30) Outcue: " at LeonSpeakers.com." TOTAL TRACK TIME: 18:08 TOTAL TIME FOR HOUR ONE-55:00 acoustic café · p.o. box 7730 · ann arbor, mi 48107-7730 · 734/761-2043 · fax 734/761-4412 [email protected] ACOUSTIC CAFE, CONTINUED Page 2 Show -
The Beatles on Film
Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964 -
The Beach Boys 100.Xlsx
THE BEACH BOYS 100 Rank Songs 1 Good Vibrations 2 California Girls 3 God Only Knows 4 Caroline No 5 Don't Worry Baby 6 Fun Fun Fun 7 I Get Around 8 Surfin' USA 9 Til I Die 10 Wouldn't It Be Nice 11 I Just Wasn't Made for These Times 12 Warmth of the Sun 13 409 14 Do You Remember 15 A Young Man is Gone 16 When I Grow Up 17 Come Go With Me 18 Girl from New York City 19 I Know There's an Answer 20 In My Room 21 Little Saint Nick 22 Forever 23 Surfin' 24 Dance Dance Dance 25 Let Him Run Wild 26 Darlin' 27 Rock & Roll to the Rescue 28 Don't Back Down 29 Hang on to your Ego 30 Sloop John B 31 Wipeout (w/ The Fat Boys) 32 Wild Honey 33 Friends 34 I'm Waiting for the Day 35 Shut Down 36 Little Deuce Coupe 37 Vegetables 38 Sail On Sailor 39 I Can Hear Music 40 Heroes & Villains 41 Pet Sounds 42 That's Not Me 43 Custom Machine 44 Wendy 45 Breakaway 46 Be True to Your School 47 Devoted to You 48 Don't Talk 49 Good to My Baby 50 Spirit of America 51 Let the Wind Blow THE BEACH BOYS 100 52 Kokomo 53 With Me Tonight 54 Cotton Fields 55 In the Back of My Mind 56 We'll Run Away 57 Girl Don't Tell Me 58 Surfin' Safari 59 Do You Wanna Dance 60 Here Today 61 A Time to Live in Dreams 62 Hawaii 63 Surfer Girl 64 Rock & Roll Music 65 Salt Lake City 66 Time to Get Alone 67 Marcella 68 Drive-In 69 Graduation Day 70 Wonderful 71 Surf's Up 72 Help Me Rhonda 73 Please Let Me Wonder 74 You Still Believe in Me 75 You're So Good to Me 76 Lonely Days 77 Little Honda 78 Catch a Wave 79 Let's Go Away for Awhile 80 Hushabye 81 Girls on the Beach 82 This Car of Mine 83 Little Girl I Once Knew 84 And Your Dreams Come True 85 This Whole World 86 Then I Kissed Her 87 She Knows Me Too Well 88 Do It Again 89 Wind Chimes 90 Their Hearts Were Full of Spring 91 Add Some Music to Your Day 92 We're Together Again 93 That's Why God Made Me 94 Kiss Me Baby 95 I Went to Sleep 96 Disney Girls 97 Busy Doin' Nothin' 98 Good Timin' 99 Getcha Back 100 Barbara Ann. -
Pet Sounds”—The Beach Boys (1966) Added to the National Registry: 2004 Essay by Tom Smucker (Guest Post)*
“Pet Sounds”—The Beach Boys (1966) Added to the National Registry: 2004 Essay by Tom Smucker (guest post)* Album cover Original label The Beach Boys Released in May of 1966, “Pet Sounds” was initially understood by some as a new pop music paradigm, for others as a rock betrayal, for a few as a source of personal solace. In the USA, it was also a financial disappointment, a potentially career collapsing abandonment of the Beach Boys surf, car, and summer songs. Across the Atlantic in the UK, the album received a crucially different debut. Keith Moon of The Who helped Bruce Johnston of the Beach Boys set up a publicized pre-release “Pet Sounds” enthusiastic listen in London for John Lennon and Paul McCartney. With that recognition established, the LP and the Beach Boys continued their overseas ascent in esteem and popularity while dropping out of favor, if not out of sight, in the United States. As had been his practice previously in the studio, Brian Wilson worked out the instrumental tracks with the cream of LA studio musicians, the so-called “Wrecking Crew,” while the rest of the group was on tour, returning to add their complex yet heartfelt vocal harmonies on the top. In “Pet Sounds,” these tracks were packed with found sounds, countermelodies, and an unpredictable variety of instrumentation that gave each cut a distinctive signature while still part of a coherent whole. Brian was composing using the modern mid-1960s recording studio as his instrument. It was this example that inspired George Martin and the Beatles to expand their exploration of the studio with their own sensibility for “Sgt. -
Paul Mccartney, 1980-1999
Paul McCartney from Wings through the 90's McCartney II Columbia FC‐36511 May 21, 1980 About ten years after recording McCartney by himself, Paul got several songs together and recorded them‐‐again alone‐‐on somewhat of a lark. Then Paul embarked on his ill‐fated 1980 tour of Japan (which resulted in his being jailed for drug possession). After returning to the safety of his own home, he was urged to release the album, and he did. The album contrasts well with McCartney, for this second production contains numerous instruments and electronic tricks that were not present on the 1970 release. Side One is particularly interesting. The solo version of "Coming Up" is followed by the fun track, "Temporary Secretary" (released as a single in England). The almost‐lament, "On the Way," is then succeeded by "Waterfalls," Paul's second (US) single from the album. "Bogey Music," from Side Two, is also a standout. John Lennon heard a song from McCartney II and thought that Paul sounded sad. When the album was released in the US, a bonus one‐sided single ‐‐ the hit version of "Coming Up"‐‐was included with the LP. This hit was enough to propel the album to the #3 position on the charts, during a time when disco was now on the wane. "Waterfalls" Columbia 1‐11335 Jul. 22, 1980 The lovely ballad about protectiveness was one of the standouts from McCartney II. After "Coming Up," it received the most airplay and the most positive response from Paul's friends. As a single, though, the song fared poorly, only reaching #83...one of Paul's worst showings to date. -
Bill Harry. "The Paul Mccartney Encyclopedia"The Beatles 1963-1970
Bill Harry. "The Paul McCartney Encyclopedia"The Beatles 1963-1970 BILL HARRY. THE PAUL MCCARTNEY ENCYCLOPEDIA Tadpoles A single by the Bonzo Dog Doo-Dah Band, produced by Paul and issued in Britain on Friday 1 August 1969 on Liberty LBS 83257, with 'I'm The Urban Spaceman' on the flip. Take It Away (promotional film) The filming of the promotional video for 'Take It Away' took place at EMI's Elstree Studios in Boreham Wood and was directed by John MacKenzie. Six hundred members of the Wings Fun Club were invited along as a live audience to the filming, which took place on Wednesday 23 June 1982. The band comprised Paul on bass, Eric Stewart on lead, George Martin on electric piano, Ringo and Steve Gadd on drums, Linda on tambourine and the horn section from the Q Tips. In between the various takes of 'Take It Away' Paul and his band played several numbers to entertain the audience, including 'Lucille', 'Bo Diddley', 'Peggy Sue', 'Send Me Some Lovin", 'Twenty Flight Rock', 'Cut Across Shorty', 'Reeling And Rocking', 'Searching' and 'Hallelujah I Love Her So'. The promotional film made its debut on Top Of The Pops on Thursday 15 July 1982. Take It Away (single) A single by Paul which was issued in Britain on Parlophone 6056 on Monday 21 June 1982 where it reached No. 14 in the charts and in America on Columbia 18-02018 on Saturday 3 July 1982 where it reached No. 10 in the charts. 'I'll Give You A Ring' was on the flip. -
BWTB Valentines LOVE Show 2016
1 All Love Show 2016 1 2 9AM The Beatles - It’s Only Love- Help! / INTRO : THE WORD (Lennon-McCartney) Lead vocal: John Recorded in six takes on June 15, 1965. The first Beatles song to include a reference to getting “high” (“I get high when I see you go by”). The working title prior to lyrics being written was “That’s a Nice Hat.” George Martin and his Orchestra recorded the instrumental version of “It’s Only Love” using the original title. In 1972 Lennon called “It’s Only Love” “the one song I really hate of mine.” On U.S. album: Rubber Soul - Capitol LP 2 3 The Beatles - Love Me Do – Please Please Me (McCartney-Lennon) Lead vocal: John and Paul The Beatles’ first single release for EMI’s Parlophone label. Released October 5, 1962, it reached #17 on the British charts. Principally written by Paul McCartney in 1958 and 1959. Recorded with three different drummers: Pete Best (June 6, 1962, EMI audition), Ringo Starr (September 4, 1962), and Andy White (September 11, 1962 with Ringo playing tambourine). The 45 rpm single lists the songwriters as Lennon-McCartney. One of several Beatles songs Paul McCartney owns with Yoko Ono. Starting with the songs recorded for their debut album on February 11, 1963, Lennon and McCartney’s output was attached to their Northern Songs publishing company. Because their first single was released before John and Paul had contracted with a music publisher, EMI assigned it to their own, a company called Ardmore and Beechwood, which took the two songs “Love Me Do” and “P.S. -
Beatles History – Part Three: 1970-2008
BEATLES HISTORY – PART THREE: 1970-2008 The Solo Careers In September 1969, John Lennon told his musical partners at a business meeting that he was leaving The Beatles. It was decided that the split was to be kept secret until the group had secured a profitable new contract with EMI Records. In early 1970, The Beatles’ staff prepared the release of Let It Be, which had been recorded in January 1969. As George Martin had lost interest in the production, American producer Phil Spector was asked to turn The Beatles’ rough recordings into a valuable album. Spec- tor’s involvement, however, caused further friction between the band members, because Paul McCartney felt that Spector was ruining his song “The Long and Winding Road” with a lavish arrangement featuring an orchestra and a choir. In addition, the release of Let It Be collided with the release date of Paul McCartney’s first solo album, McCartney, which was scheduled for 10 April, 1970. The conflicts within the band finally reached their climax when the other Beatles ignored McCartney’s wish of removing Spector’s orchestral arrangement from the recording of his song. Consequently, Paul McCartney decided to inform the public that The Beatles had disbanded. The promotional copies of McCartney’s first album contained an interview, in which he stated that he did not want to work with The Beatles anymore, because of personal and musical dis- agreements. The release date of McCartney is therefore regarded as the date The Beatles broke up, although they legally existed as a band until 1976, when their contracts finally expired. -
Paulmccartney
BACK IN THE USA PAUL MCCARTNEY NEW YORK CITY, OKTOBER 1991 Die Gelegenheit, mit Paul McCartney zu parlieren, ergab sich zur Unzeit. Ich war für ein paar Tage nach New York gereist, um an einem Treffen zum Erfahrungsaustausch zwischen Veranstaltern internationaler Musikkongressen teilzunehmen, ein Arbeitsaufent- halt mithin, aus dem ich das Beste zu machen gedachte: Platten- und Buchläden plündern, Konzerte besuchen, bei Freunden in Brooklyn obskure Rockabilly-Singles hören, Cheesecake futtern. So little time, so much to do. Entsprechend ablehnend reagierte ich auf das Angebot meiner Tischnachbarin, als sie mir ein Interview mit Paul McCartney an- diente. Mark Josephson, Initiator und Organisator des New Music Se- minar, hatte zum Dinner geladen (er nannte es „a little soiree“), wir saßen in überschaubarer Runde in einem Restaurant auf der Upper West Side. Ich sei doch Musikjournalist, flötete Jill, deren Nach- namen – mea culpa – ich vergaß, zu vorgerückter Stunde, da müss- te das doch ein Fressen für mich sein. Schon, konzedierte ich höf- lich, aber die mir verbleibenden paar Tage seien verplant und Paul McCartney gehöre nicht unbedingt zu den von mir meistgeschätz- ten Künstlern, also nun wirklich nicht. Eine Stunde charmanter Überredungskunst später sagte ich zu, am nächsten Vormittag gab sie mir den Termin durch für mein Treffen mit Macca. Paul McCartney war in der Stadt, um eine ganze Reihe von In- terviews zu absolvieren, hauptsächlich fürs Fernsehen. Es wäre für Paul sicher ganz erholsam, nicht fortwährend von Kameras umge- ben zu sein und zwischendurch einen Fragesteller von der schrei- benden Zunft vor sich zu haben, so meine neue Bekannte, die für Pauls Label die Public Relations koordinierte. -
BWTB Jan. 22Nd Rain Show
1 PLAYLIST JAN. 22, 2017 The Beatles by the Fireside 9AM The Beatles - Mother Nature’s Son - The Beatles (Lennon-McCartney) Lead vocal: Paul Another Paul McCartney solo performance for the “White Album.” Paul remembers writing the song at his father’s home in Liverpool and that it was inspired by Nat “King” Cole’s recording of “Nature Boy.” After the other Beatles went home on the evening of August 9, 1968, Paul went through 25 live performances of the song, each featuring his vocal and his Martin D-28 acoustic guitar. Take 24 was deemed the best. Overdubbing 2 took place on August 20 with Paul playing drums and timpani, double-tracking his lead vocal at the end of the song, and adding a second acoustic guitar part. George Martin’s brass arrangement was also added to the mix. The Beatles - Yes It Is - Single (Lennon-McCartney) Lead vocals: John, Paul and George Recorded over five hours on February 16, 1965, the rhythm track of “Yes It Is” was completed in 14 takes. John, Paul and George then spent three hours recording the vocals live, the best version being laid on top of Take 14 as an overdub. Starting in 1965 this was the new way they would record. Previously, every edit piece or overdub would have been numbered. Now they just recorded until they got it right and placed that on top of a numbered take, the ”best” rhythm track. Written primarily by John Lennon. John: “That's me trying a rewrite of ‘This Boy,’ but it didn't work.” “Yes It Is” is notable for its lush harmonies and George Harrison’s 12-string Rickenbacker played through a foot-controlled volume pedal, what is now known as a “wah-wah pedal.” The B-side of the “Ticket To Ride” single, issued April 9, 1965 in the UK and April 19, 1965 in the U.S.