Nbr 204 1970 Oct 15 to 28

Total Page:16

File Type:pdf, Size:1020Kb

Nbr 204 1970 Oct 15 to 28 KRAfl PROGRAM GUIDE NUMBER 204---- TH E JACK STRA¥! MEMORIAL FOU~DATION 9029 ROOSEVELT WAY NORTH EAST SEATTLE WASHDIGTON 98115 LA2- s11I1111 CONTAINING PROGRAM LISTINGS FOR THE NEX Y TIIATS 'lEU TWO ;~EEKS-lOls70 TO 102 870, AS BROADCAST ON KRAB, A LISTENER SUPPORTED RADIO STATlOI! TIIAT LIKES EVEN MARGINS BUT OOESNT GET 1,1UCH O1ANCE TO IfSE TIIEH, OKAY ? This !veek ' s ?Togram guide cover is bv Alice Gant. and last issue's cover was the work of L'im Hat "'ield . ~la ybe the D~ i lY won't steal them this time, but when YOUT a c0u :fagj~£, hard-hitting journalist, well ...... The sUbscription rates are: $15 a year mini mum $25 a y~ar regQlar $500 a year swell Make all checks payable to the .TACK STRAW MEMORIAL FOUNDATION And remember, its TAX DEDUCTIBLE!! 2 BACKGROUND OF THE HEARING The KRAB 'obscenity hassle,' as we've come to call it, began on August 5, 1967, with the scheduled broadcast of a thirty hour long 'autobiographical novel on' tape' by Reverend Paul Sawyer. Lorenzo Milam, then station manager, was listening to the program at home and heard words used the Federal Communications Commission c:onsiders . obscene (or at least, what Lorenzo thought the FCC thought was obscene). After a few warnings to Reverend Sawyer (who was at the station playing the pro­ gram on his own tape recorder) Lorenzo took the program off the air. In December of the same year, another 'obscene' program was broadcast, this with Reverend James Bevel, Reverend Bevel's speech waS played twice, in its entirety . In Harch of 1969, KRAB broadcast an interview with the San Francisco Mime Troupe, ahout which the FCC also received a complaint of 'obscenity.' All of these programs were broadcast during the same three year license .period of KRAB. Because of them, the FCC delayed for over a year the renewal of KRAB's license following the period of '67 through '69. When the license finally was renewed,. it. was for one,' rat.her t.han the st.andard t.hree year period, as a penalt.y for 'not following stated .broadcast. policy.' WE WERE NOT PENALIZED FOR BROADCASTING OBSCENITY. At. the request of. CBS (who filed a brief in our support) and ot.hers in the broadcast indust.ry, KRAB filed with t.he FCC a Petition for Re­ consideration of the short t.erm renewal. The broaqcast industry's con­ cern was that t.he FCC had penalized a radio station without. giving the real reason for the penalt.y. The Pet.i tion for Reconsideration was denied, but in its place the FCr: granted KRAB an expedi ted. field hearing to deal wi t.h the following issues: '1) To determine whether KRAB-FM has exercised proper liGensee responsibility in effectuating its policy regarding the suitability of material for broadcast. 2) Whether in light of issue (1), the public interest would be served by a one year or a full three year renewal of the license of KRAB-FM. ' This is the hearing that will take place .in Seattle, on the University of Washington campus, on November 10 (postponed from October 19). It will 'concern the three obs cene programs al ready menti oned, p Ius an October 1, 19f,8 broadcast by Dave Wertz allegedly containing' fithy and obscene jokes' and the August 10, 1970 broadcast of the Flying Dutchman recording, Murder at Kent State. The case will be heard by FCC hearing examiner Millard French, with the Broadcast Bureau representing the FCC and Michael Bader, of the Washington D.C. law firm of Haley, Bader and Potts repre­ senting the Jack Straw ~1emorial Foundation (KRA'3). The hearing is open to the public and we urge aU supporters of KRAB to attend. (Noti ce of exactly where and when. the hearing will be held will be given in the next guide.) If you wish to help further, letters of support should be wr~ttento . the Federal Communications Commission, Washington D.C., 20554. (Docket No, 18043" the Jack Straw Memorial Foundation.) I f you need any ,?s sis '.:ance or further inform" tion, call KRAB (LA2-5111) dur.i.ng the husiness day. (and send us a copy of your 1 letter). NOTE We have . merely listell the facts of. the case here, '"i thout allY attempt at defense or expl anation, that b,eing the p.urpose of the heari.ng. 3 THURSDAY, OCTOBER 15 7:00 am THE ~,10RNING SHOW - with Phil Munger . Part II of a close-up study of South Indian music. 11: 00 Commen tary (R) 11: 30 Letter from En gland (R) 11:45 African Times (R) [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] [] 3 :30 pm COURT AND CEREMONIAL MUSIC OF THE 16th CENTURY - Josquin, Compere, Brumel, de Fevin, ~lo uton, performed by the Roger Blanchard Ensemble. (Nonesuch) 4: 15 ETHIOPIA - vocal music from across the Red Sea from Saudi Arabia and south of the Sudan. (Ocora) These are examples of non-Western polyphony. 4: 55 ALEKSANDR PUSHKIN I - a biography, presented by Larry Jackson as part one of The Long Russian Winter program of Russian vocal music . From Pacifica. 6: 00 THE EVENING RAAG - Bismillah Khan, shenai, with Raga-s Bageshri and Sohni; -followed by Ali Akbar Khan, sarod, with Raga Multani. (Odeon ) 7:00 COMMENTARY - World Without War Counsel, wi th Bill Hanson. 7:30 FILM REVIEW - t eam hitting with Peter Hogue and/or Dick Jameson, now on a weekly basis. There seem to be lots of fi Ims about. 7:45 HOME - Gary Bartz, Woody Shaw, Albert Dailey, Boh Cunningham and -Rashied Ali perform in Baltimore, March 30, 1969. 8:30 WRITING A HISTORY OF SEATTLE - with Prof. Roger Sale examining the Oriental "problem" from both si des during 1885- 1886, as it happened hereabouts. 9:00 LEFT PRESS REVIEW - wi th Frank Krasnowsky. 9:30 CLASSIC JAZZ - with Mike Duffy. 10:45 open time 11 :00 THURSDAY NI GHT MUSIC - with Robert Garfias. FRIDAY, OCTOBER 16 7 :00 am THE MORNING SHOW - Phil Munger plays vocal music of C. Monteverdi and A. Vi valdi . 11 :00 Commentary (R) 11: 30 History of Seattle (R) 12 noon Left Press Review (R) " ?????????????????????????????????????????????????????????????????????? 3: 30 pm LI FE, BY ZENO - read by P. J. Doyle, who only visits . 4:00 VOICES OF THE MIDDLE AGES - Capella Antiqua of Munich, Konrad Ruh land, cond. (Nonesuch) 5:00 FRIDAY AFTERNOON MUSIC - with Jim Hatfield. 7:00 COMMENTARY - New School Mov eme nt 7: 30 BARTOK - String Quartet No.3. The Juilliard String Quartet. (Columbia) 7:45 PRACTICAL CATS - Greg & Cathy Palmer interview Larry Andrews, Board Chairman of the National Humanitarian Association, a group concerned with cruelty to animals &humans. They discuss a mass spaying/gelding program for house pets soon to begin 4 / in Seattle, bucking straps in rodeos, "bloodless" bullfighting, and Mr. Andrews' cat, Boots. 8:35 FOLK MUSIC OF THE USSR - compiled by Henry Cowell. (Ethnic Folkways) 10:00 TIMOTHY LEARY AT ELLENSBERG - speaking on "The Individual in College" at Central Washington State College's Symposium on American Values--4/26/63. From KRAB's Archives. 11: 00 BUMBLING WITH BALTIC - it's captain bebop falling by your mind; you can try to catch him but he won't stay. SATURDAY, OCTOBER 17 10:00 am THE SATURDAY ~~ORNING SHOW - Sperry Goodfellowmanly. 11 :45 Fu-Manchu (R) 12: 30 pm Commen tary (R) NNNNN NNNNNNNNNNNNNN NN NN NNNNNNNNNNNNNNNNNNNNNNN NNNNNNNNNNNNNNNNNNNNNNNN 6:00 pm THE EVENING RAAG - Ali Akbar Khan, sarod, with Miyan ki Todi and Zi lla-Kafi. (Odeon) 6 : 40 LORENZO MILAM MEETS MICHAEL SCARBOROUGH - talking about literature, education, politics, religion, dissent, and all those other things on their minds. From KTAO. (Rescheduled from Sept . 25) 7:30 INDIAN GUITAR - music from Peru, Argentina, Venezuela, Bolivia, Co lumbia and Chi Ie. (Barclay) 8 :00 open hour 9:00 HUELGA - news of the Yakima Valley strike. 9:30 URBAN BLUES - with Dick Shurman, a step away from zap. 11 :00 BLUEGRASS - with Tiny Freeman as Tiny Freeman, a great impersonation. SUNDAY, OCTOBER 18 10:00 am A CHILD'S GARDEN OF VEGETABLES - with Dick Parker as Kant, and Lance Courage as Zarathustra. Great for a quiet morning, right Ludwig? Definitely post-Wittgensteinian. 11: 45 Fu-manchu (R) 12 noon SON OF EARTH DAY: PART THREE - The speakers are Margaret Meade, Bill Schechner of WBAI, and Paul Ehrlich. From Pacifica. 1:00 pm HENRY PURCELL - THE INDIAN QUEEN - Anthony Bernard, cond.; Patricia Clark, soprano; Cynthia Glover, soprano; Sylvia Rowlands, contralto; Hohn Whitworth, counter-tenor. (Music Guild) 2:00 JAZZ FOR A SUNDAY AFTERNOON - with Steve Brown. 5:00 SECULAR VOCAL MUSIC OF THE RENAISSANCE - The Ambrosian Singers and Players with works by Encina, Vilches, Alonso, Aldomar, Badajoz, Wert, Rore, Luzzaschi, and Striggio. (Dover) 5:45 FLAMENCO - featuring Pepa de Utrera, El Tupe, and Alvaro de la Isla. (Fontana 602) 6:30 THE MOULDY FYGGE--PETE JOHNSON--AL AMMONS - 2 piano boogie­ woogie: Cuttin' The Boogie/Barrelhouse Boogie/Boogie-Woogie Man/Walkin' The Boogie/6th Ave/Pine Creek/Foot Pedal Boogie/ Cafe Society Rag. With Val Golding. 7:00 COMMENTARY 5 7:30 MUSICA POETICA - Carl Orff, Vol. 6. (Harmonia Mundi) 8:15 TOOTHPICK, LISBON AND THE ORCAS ISLANDS - contemporary poetry with Michael Wiater. Juan Ramon Jimenez, Fortl Poems, trans. by Robert Bly (Sixties); Edward Dorn, Geography (Fulcrum); Georges Zuk, Selected Poems, trans. by Robin Skelton (Kayak); and Jack Spicer, Book of Magazine Verse (White Rabbit). 8: 45 ERI K SATIE - "Mas s for the Poor", wi th Arnold Schoenberg's "Variations on a Reci tative", Marilyn Mason, organist. (Esoteric) 9:30 PREGNANCY: LOVE IT OR LEAVE IT - a discussion of abortion reform and referendum 20.
Recommended publications
  • Rhythm Posse Occasionally Worked with Bukka White in Local Juke Facebook.Com/Rhythmposse Joints
    father of the Memphis blues guitar style. By the turn of the century, at the age of 12, Stokes worked as a blacksmith, traveling the 25 miles to Memphis on the weekends to sing and play guitar All shows begin at 6:30 In case of inclement weather, Tuesday Night Blues with Don Sane, with whom he developed a long- is held at the House of Rock, 422 Water Street. term musical partnership. Together, they busked on *August 7 will be held at Phoenix Park. the streets and in Church's Park (now W. C. Handy Park) on Memphis' Beale Street. Sane rejoined Stokes May 28 Howard ‘Guitar’ Luedtke & Blue Max for the second day of an August 1928 session for HowardLuedtke.com June 4 Revolver Victor Records, and they produced a two-part RevolverBand.net version of "Tain't Nobody's Business If I Do", a song August 20, 2013 at Owen Park June 11 Bryan Lee well known in later versions by Bessie Smith and BrailleBluesDaddy.com Jimmy Witherspoon, but whose origin lies June 18 Tommy Bentz Band somewhere in the pre-blues era. RhythmRhythm PPosseosse TommyBentz.com In 1929, Stokes and Sane recorded again for June 25 Code Blue with Catya & Sue Catya.net Paramount, resuming their 'Beale Street Sheiks' July 2 Left Wing Bourbon billing for a few cuts. In September, Stokes was back LeftWingBourbon.com on Victor to make what were to be his last July 9 Charlie Parr recordings, this time without Sane, but with Will Batts CharlieParr.com on fiddle. Stokes and Batts were a team as July 16 Deep Water Reunion MySpace.com/DWReunion evidenced by these records, which are both July 23 Steve Meyer with the True Heat Band traditional and wildly original, but their style had (featuring Ben Harder) fallen out of favor with the blues record buying July 30 Ross William Perry public.
    [Show full text]
  • WILL SHADE,,DEWEY CORLEY, JENNIE MAE CIAYTON (Sp?)
    ..^ WILL SHADE,,DEWEY CORLEY, JENNIE MAE CIAYTON (sp?) ^A^ry/^-^ <1 II [of 3-N. f ^^r^^^^^^fl^^^ ^\ '/ ^ ^ sr r^, / r f \ May 25. 1960 \ <. ; .i:' S / /v;, /' f/- ^ L- Lv-^. Also presents Richard B. Alien, William Claxton (Will Shade talking first) [See Memphis folder.] Some of the bands playing around [Memphis] when WS was a boy t \ were led by W. C. Handy, Howard Yandey, and Bea [sp?] Smith. Yancey ^ was a man when WS "was a "kid in Knee pants;" Yancey, who is now at [operates?] the pool room just around tte corner, had a musicians' "headquarters, a club, at one time. The bands of that time were playing ragtime music and Dixieland, tunes such as "Way D%3»n Yonder In New Orleans." [Perhaps suggested by tlie fact that RBA was from N.O.] When WS began playing music for money, instrumentatdxan .and personnel of the band were: "Roundhouse" (real name, Elijah), jug? Ben Ramey, kazoo; WS, lead guitar and harmonica; Will Weldon, second guitar. WS made up his own tunes and wrote his own songs. The group was called the Memphis Jug Band. The first records WS made were with the persons listed above; the recordings were "Newport News," "Memphis Jug Band Blues," [Cf. discographies] "Stingy Woman Blues" and "Sun- brimmer's Blues." The original personnel have been replaced in the last ten or fifteen years as they died; Weldon was replaced by Robert Carter, guitar [Cf. discographies.]? Jones j'oined the band to play jug and piano. [Jab Jones?] WS recorded with Sleepy Sohn Estes around [19]26 or [19]27; they titles inciLuded "Diving Duck" and "[ ] Jail." Estes was in Brownville [i.e., Brownsville?], Tennessee, the last time WS heard from him; Estes is now blind.
    [Show full text]
  • American Epic Sessions Song List
    Press Contacts: Brian Moriarty, DKC Communications, 212-981-5252; [email protected] Aliza Rabinoff, DKC Communications, 212-981-5157; [email protected] Natasha Padilla, WNET, 212-560-8824; [email protected] Press Materials: http://pbs.org/pressroom or http://thirteen.org/pressroom Websites: http://americanepic.com , http://pbs.org/americanepic , http://facebook.com/americanepic , @AmericanEpic , http://instagram.com/americanepic/ , http://google.com/+americanepic , http://youtube.com/americanepic , #AmericanEpic The American Epic Sessions Premieres Tuesday, June 6 at 8 p.m. on PBS (check local listings) Song List Performances “Matrimonial Intentions” Traditional Performed by Jack White Arranged by Jack White Jack White: Vocals and Guitar Dominic Davis: Upright Bass Fats Kaplin: Mandolin Lillie Mae Rische: Vocals and Fiddle Carla Azar: Percussion Produced by Jack White and T Bone Burnett Courtesy of Columbia Records, a Division of Sony Music Entertainment “If The River Was Whiskey” Composed by Charlie Poole and Norman Woodlieff Performed by Frank Fairfield Frank Fairfield: Vocals and Slide Guitar Zac Sokolow: Banjo Produced by T Bone Burnett Published by Charlie Poole Publishing, Inc. and Original Rambler Music Inc., admin. by Bluewater Music Services Corp. Courtesy of Columbia Records, a Division of Sony Music Entertainment “On The Road Again” Composed by J.B. Jones and Will Shade Performed by Nas Nas: Vocals Dominic Davis: Upright bass Jake Faulkner: Jug Fats Kaplin: Banjo Alfredo Ortiz: Drums Lillie Mae Rische: Fiddle
    [Show full text]
  • Liner Notes to J.D. Short & Son House
    SON HOUSE & J. D. SHORT Blues from the Mississippi Delta/Folkways Records FA2467 DESCRIPTIVE NOTES ARE INSIDE POCKET COVER DESIGN BY RONALD CLYNE / PHOTOGRAPH BY DAVID GAHR SIDE ONE SIDE TWO I. J. D. SHORT SON HOUSE c. Re~OJ~ed by Samuel Charters July 3, 1962; st. Louis, Missouri From the Archives of the library of Congress l,Jand 1. SO MUCH WINE Band 1. MY BLACK WOMAN Band 2. TRAIN, BRING MY BABY BACK • Band 2. SUN GOIN' DOWN -Aland 3. YOU BEEN CHEATING ME Band 3. I AIN'T GOIN' TO CRY NO MORE .....I Band 4. CHARLIE PATION Band 4. THE KEY OF MINOR :;:;: '.;J Band 5. FIGHTING FOR DEAR OLD UNCLE SAM Band 5. THIS WAR WILL LAST YOU FOR YEARS --~~.-:' Band 6. WAS I RIGHT OR WRONG? Band 7. COUNTY FARM BLUES FOLKWAYS RECORDS Album if FA 2467 ©1963 by Folkways Records & Service Corp., 165 W. 46th St. NYC USA J. D. SHORT and SON HOUSE The Blues of the Mississippi Delta Samuel Charters Yazoo River. It is good country for cotton. The soil is rich, the fields are flat and easy to work, and the area is near Memphis, with its facilities for market­ Northwest Mississippi is beautiful in the spring and ing and shipping. The delta has long been one of the the fall. There is a softness to the air, a distant sections of the country with the highest percentage haze that colors the horizon a faint purple. The of Negro population, and bec ause of the brutality of grass covers the earth with a deep, rich green; the the social system there has been a gulf between the dried grass of autumn a mottled brown.
    [Show full text]
  • Samuel B. Charters: Notes to Folkways FS 3823 "Furry Lewis"
    FOLKWAYS RECORDS Album No. FA 3823 ©1959 Folkways Records & Service Corp., 43 W. 61st St., N. Y. C., USA FURRY LEWIS Edited by Samuel B. Charters Photo by A. R. Danberg FURRY LEWIS imagination that doesn't depend on technical display. As the singers mature their music often The last time I saw Furry Lewis he was chopping weeds achieves a new expressiveness. on a highway embankment near the outskirts of Memphis, Tennessee, the town he has lived in since he was six years- old. He was wearing faded denim overalls, a khaki work shirt, a bright red handkerchief tied The next afternoon I rented a guitar, a big Epiphone, around his neck. It was a hot day, and his sweat from a pawn shop on Beale Street, and took it over soaked shirt clung to his back. He was chopping at to Furry's room. He had gotten off work early and the heavy plants with a hoe, stopping every now and was sitting on the porch waiting for me. He carried then to wipe off his face. Furry has worked as a the guitar inside, sat down and strummed the strings laborer for the city of Memphis for nearly thirty- to make sure it was in tune, then looked up and five years. He chops weeds, cuts grass, rakes leaves, asked me, "What would you like to hear? " picks up trash, whatever needs done around the city's streets and parks. He limps a little, but watching I was surprised that he didn't want to try the him work it's still a surprise to notice that he has guitar a little first, but I managed to think of only one leg.
    [Show full text]
  • Tyler Dewayne Moore
    TYLER DEWAYNE MOORE EDUCATION 2018 PhD History, UNIVERSITY OF MISSISSIPPI (UM) Fields: Modern US History, Slavery, African Diaspora 2010 MA Public History, MIDDLE TENNESSEE STATE UNIVERSITY (MTSU) Fields: Museum Studies, Archival Administration, Historic Preservation 2001 BS Mass Communications: Production & Technology, MTSU TEACHING EXPERIENCE 2020 TO… PRAIRIE VIEW A&M UNIVERSITY (PVAMU), DEPT. OF SOCIAL SCIENCES Lecturer of US & Public History AAS 1001/HIST: 1313 Slavery & Early US (F2F & async) AAS 1002/HIST: 1323 The Black Freedom Struggle (F2F & async) HIST: 1313 Early US History (hybrid & async) HIST: 1323 Modern US History (F2F & async) 2019-2020 BOWLING GREEN STATE UNIVERSITY (BGSU), HISTORY DEPARTMENT Assistant Teaching Professor of History HNRS 2010: Critical Thinking (F2F) HIST 2050: Early US (F2F & async) HIST 2060: Modern US (async) HIST 4260: Civil War & Reconstruction (F2F) HIST 4320/5820: African American History (F2F & sync) ACS 6570/HIST 6570: Historical Society Admin (F2F & sync) 2014-2019 UM ARCH DALRYMPLE III DEPARTMENT OF HISTORY Graduate Professor of History HIST 131: Early US History (F2F) HIST 131-2: Modern US History (F2F) 2010-2013 UM, ARCH DALRYMPLE III DEPARTMENT OF HISTORY Teaching Assistant HIST 131: Early US History (F2F) HIST 131-2: Modern US History (F2F) AAS 326/HIST 415: African Americans since 1865 (F2F) AAS 440/HIST 420: African Americans in Sports (F2F) FORTHCOMING MONOGRAPHS NOV 2021 Old Time Mississippi Fiddle Tunes & the Segregation of Sound Working title for second volume of Fiddle Tunes and
    [Show full text]
  • 9-16-21-Deluca Auction
    SPECIAL John Tefteller’s World’s Rarest Records AUCTION AUCTION! Address: P. O. Box 1727, Grants Pass, OR 97528-0200 USA #1 Phone: (541) 476–1326 or (800) 955–1326 • FAX: (541) 476–3523 Ralph DeLuca’s E-mail: [email protected] • Website: www.tefteller.com More DeLuca Pre-War auctions to Blues Auction closes Thursday, September 16, 2021 at 7:00 p.m. come! Presenting . The Ralph DeLuca Collection of Pre-War Blues 78’s! This is auction #1 (of at least five) of the record Mr. DeLuca has moved into the art world, collection. Be prepared though — the great stuff is collection of Ralph DeLuca. no longer collecting 78’s, as he finds it easier to going to go for a lot of money! buy rare art than rare records. That should tell Mr. DeLuca is most known for his legendary you something! E+ is the highest grade used. This is the old-time collection of rare movie posters, but for about 15 78 grading system and I am very strict. years he actively, and aggressively, collected rare There should be something for each and every Blues 78’s, mostly Pre-War. Blues collector reading this auction. There are The next Ralph DeLuca auction will be in a few titles here not seen for sale in decades . and months and contains another 100 goodies. He plunged into collecting rare Blues 78’s hot some may never be seen again. and heavy and went for the best whenever and Good luck to all! wherever he could find them. He bought smart This is your chance to get some LEGENDARY and paid big to get what he wanted! rarities and just plain GREAT records for your THE 3 KINGS OF THE BLUES! CHARLEY PATTON TOMMY JOHNSON ROBERT JOHNSON 1.
    [Show full text]
  • Blow My Blues Away Vol. 2
    Mississippi Delta Blues "BLOW MY BLUES AWAY” Vol. 2 Recorded by GEORGE MITCHELL in the 1960s MISSISSIPPI DELTA BLUES in the 1960s -V o l. 2 An Introduction - by George Mitchell (1968) It was our fifth day in Mississippi. for the members of the band, watching My wife and I were whiling away the the headlights as they crept by on the time on a bench in the "downtown" highway, hoping they might turn into section of Como. The town, popula­ the field in front of the house and head tion 789, was strangely quiet to urban toward us. It was past midnight when ears. Interstate 55 streamed past on the outdoor recording session finally one side, while old Highway 51 got underway. And three hours more rambled along the other. Half the store­ before the drums were lying on the fronts along the lifeless business dis­ ground among the lard buckets in trict were boarded up. The only public which Annie Mae McDowell had bathroom was in the one-room city planted sunflowers. Then Othar hall across the street. A hand scrawled Turner, one of the drummers, walked sign in the window of Mrs. M. Perkins' over and propped his leg on the porch store read: "Pay your burial dues here. " where I was sitting. "If you want a So far, we had had no luck in locat­ man who can flat lay down the blues, " ing unrecorded blues singers— the pur­ he said nonchalantly, "I know who pose of our trip. We had been up half that be.
    [Show full text]
  • It's Just As Good!!
    Buddy Holly. “70 Miles” is about being on with a very nice variety of different styles both electric and resonator guitar and the road to a gig. I’m not sure what the title and grooves. “Out Of Your Head” is a harmonica, and sings; Pete Devine plays refers to, the lyrics aren’t terribly filthy, but Blues that shifts tempos between that drums and washboard; Joe Kyle Jr. plays maybe they’re thinking of the guitar tone. “Smokin’ TNT Drinkin’ Dynamite” groove upright bass. The fare is Country Blues, The Gretsch is actually in the way of the and a swinging shuffle like the Paladins including classics from Muddy Waters, cover shot being filthy. Nice picture just used to favor a lot. “Katrina y Romero” Frank Stokes, Sonny Boy Williamson II, the same though! Sixgunromeo.com -MB is another fine guitar instrumental piece, Bukka White and Al Duncan, plus some with a vaguely Latin feel. With 16 songs originals. As a player myself, I’m always a Eight O’Five Jive / Too Many Men you’re really getting value for your dollar! sucker for a group that features washboard! RRTT002 The two other covers include Dave And a major measure of this type of act is Alvin’s “Marie Marie,’ with some lyrics in whether they are adding to the tradition Here’s a group formed by inspiration Spanish, and Stevie Wonder’s “Ribbon In with their own songs, and they do. The of a Radio show called “Nashville Jumps,” The Sky” - a mellow instrumental. Tony first that appears, “Let You Go,” is good and playing that jumping style R&B with wrote half the songs on his own, and 4 enough they could have opened with it! a stripped down lineup including guitar, with Costarella, who also wrote “Let’s Fine transparent production – just feels sax, electric bass & drums, plus a female Rock It” on his own.
    [Show full text]
  • New World Records
    New World Records NEW WORLD RECORDS 701 Seventh Avenue, New York, New York 10036; (212) 302-0460; (212) 944-1922 fax email: [email protected] www.newworldrecords.org Let’s Get Loose: Folk and Popular Blues Styles from the Beginnings to the Early 1940s New World NW 290 lues began to be sung in the eighteen- Kentucky, and Maryland, and in the western Bnineties. By the nineteen-twenties they had states, where blacks were a fairly small minority, become the dominant folk- and popular-song and where there was a certain amount of social form among American blacks and had exerted mobility, ragtime became popular among the enormous influence on white popular and folk black working class in the cities and towns. music.At the time of their earliest development, Drawing about equally on black and white folk blues were part of an extraordinary ferment tak- and popular styles, ragtime quickly spread into ing place in black cultural circles. By the nineties the cities of the North and Deep South and a new generation had grown to maturity, born developed various folk offshoots.A kind of vocal out of slavery but still struggling to obtain the ragtime developed among quartets that got freedom and to chart the direction of their cul- together at barber shops and at social gatherings. ture in America. Some of the more fortunate Quartets also sang spirituals, reinjecting some of members of this generation graduated from the the syncopation, antiphonal style, and dis- many newly established black colleges and tinctively black approach to harmonizing that entered professions such as the ministry,the law, had been removed from these songs in the business, medicine, and education.
    [Show full text]
  • California State University, Northridge the Blue Note: A
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE BLUE NOTE: A GREATER TEXAS REGIONAL BLUES HEARTH A thesis submitted in partial fulfillment of the requirements For the degree of Master of Arts in Geography by Daniel Geringer Summer 2013 The thesis of Daniel Geringer is approved: __________________________________ __________________ James Craine, Ph.D. Date _________________________________ __________________ Ron Davidson, Ph.D. Date _________________________________ __________________ Steven Graves, Ph.D., Chair Date California State University, Northridge ii ACKNOWLEDGEMENTS The author would like to thank his wife, Rowena, and his two children Clarissa and Colin for their unrelenting support during this project. The author would like to thank Professor Graves for his support, inspiration and interest in geographically centered musical studies and this particular thesis. Further thanks are given to Professors Craine whose assistance over the last year is greatly appreciative and without this assistance; this thesis would never have been completed and Professor Ron Davidson. Additional thanks are given to Ed Jackweicz, David Hornbeck and James Allen, whose influence and support were influential to my studies. iii TABLE OF CONTENTS Signature Page ________________________________________________ ii Acknowledgements ____________________________________________ iii Abstract______________________________________________________ vi CHAPTER 1. Introduction and Research Question ____________________ 1 CHAPTER 2. Geographic and Theoretical Context ____________________
    [Show full text]
  • The Memphis and Shelby County Room Music Listening Station Guide
    The Memphis and Shelby County Room Music Listening Station Guide 1 The Memphis and Shelby County Room Music Listening Station Guide Instructions for Use Sign in at the Reference Desk for a pair of headphones Use this Guide to determine which album(s) you would like to listen to Power on the Receiver and the CD Changer Use the scroll wheel to select you album Push “Play” If others are waiting to listen, please limit your time to 2 hours After listening, turn off the Changer/ Receiver and return headphones to the Reference Desk Please do not open the Disc Changer or change any settings on the Changer or Receiver 2 CD Genre Artist Album Title Track Listing # Memphis blues / W. C. Handy - Tiger rag / D. J. LaRocca - Good news / Traditional spiritual, arr. Allen Todd II - A mess of blues / D. Pomus and M. Shuman - Let's stay together / Willie Mitchell, Al Green, Al Jackson - Fight song / Tom Ferguson - String quartet no.3, DRequiem : Oro Supplex/Lacrimosa ; Dies irae / John Baur - Ol' man The University 90 Years of making music river / Jerome Kern, arr. by James Richens - Allie call the beasts : Allie ; To be called Classical of Memphis in Memphis The 1 a bear / John David Peterson - Tender land : Stomp your foot upon the floor / Aaron Band University of Memphis Copland - I'm in trouble / Joe Hicks - MKG variations / Kamran Ince - Pockets : Three solos for double bass : number 1 / John Elmquist - Scherzo no.3 in c-sharp minor, op.39 / Frederic Chopin - Brass quintet : Intrada ; Finale / James Richens - Lucia di Lamermoor / Chi me frena in tal momento / Gaetano Donizetti.
    [Show full text]