Still on the Road Session Pages: 1970
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Michael Murphey Blue Sky · Night Thunder Mp3, Flac, Wma
Michael Murphey Blue Sky · Night Thunder mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Blue Sky · Night Thunder Country: US Released: 1975 Style: Country Rock MP3 version RAR size: 1660 mb FLAC version RAR size: 1398 mb WMA version RAR size: 1491 mb Rating: 4.7 Votes: 278 Other Formats: DMF MP4 MP3 DXD ASF MMF AIFF Tracklist Hide Credits Wildfire A1 4:47 Written-By – L. Cansler*, M. Murphey* Carolina In The Pines A2 3:54 Written-By – M. Murphey* Desert Rat A3 3:53 Written-By – M. Murphey* Wild Bird A4 2:24 Written-By – M. Murphey* Blue Sky Riding Song A5 3:32 Written-By – M. Murphey* Medicine Man B1 3:49 Written-By – J. Murphy*, M. Murphey* Secret Mountain Hideout B2 3:56 Saxophone [Solo] – Tom ScottWritten-By – J. Murphy*, M. Murphey* Without My Lady There B3 2:33 Written-By – M. Murphey* Night Thunder B4 2:46 Vocals – Tracy NelsonWritten-By – M. Murphey* Rings Of Life B5 3:18 Written-By – G. Nunn*, M. Murphey* Companies, etc. Copyright (c) – CBS Inc. Phonographic Copyright (p) – CBS Inc. Pressed By – Columbia Records Pressing Plant, Santa Maria Manufactured By – Epic Records Manufactured By – CBS Inc. Mastered At – Customatrix Published By – Mystery Music, Inc. Published By – Nunn Publishing Credits Arranged By – Michael Murphey* Backing Vocals – Jeff Hanna, Jimmy Ibbotson Banjo – John McEuen Bass, Backing Vocals – Michael McKinney* Design [Album Cover Design], Photography By – William Matthews Drums – Harry Wilkinson Engineer – Jeff Guercio Engineer [Assistant] – Mark Guercio Guitar – Sam Broussard Guitar, Backing Vocals – Richard Dean Keyboards, Arranged By – Jac Murphy Mandolin – Jerry Mills Photography By [Inner Sleeve] – Gary Thomas Producer – Bob Johnston Technician [Technical Assistance] – Frank Lee Notes This release was pressed by Columbia Records Pressing Plant, Santa Maria denoted by "S" in the runout. -
The History of Rock, a Monthly Magazine That Reaps the Benefits of Their Extraordinary Journalism for the Reader Decades Later, One Year at a Time
L 1 A MONTHLY TRIP THROUGH MUSIC'S GOLDEN YEARS THIS ISSUE:1969 STARRING... THE ROLLING STONES "It's going to blow your mind!" CROSBY, STILLS & NASH SIMON & GARFUNKEL THE BEATLES LED ZEPPELIN FRANK ZAPPA DAVID BOWIE THE WHO BOB DYLAN eo.ft - ink L, PLUS! LEE PERRY I B H CREE CE BEEFHE RT+NINA SIMONE 1969 No H NgWOMI WI PIK IM Melody Maker S BLAST ..'.7...,=1SUPUNIAN ION JONES ;. , ter_ Bard PUN FIRS1tintFaBil FROM 111111 TY SNOW Welcome to i AWORD MUCH in use this year is "heavy". It might apply to the weight of your take on the blues, as with Fleetwood Mac or Led Zeppelin. It might mean the originality of Jethro Tull or King Crimson. It might equally apply to an individual- to Eric Clapton, for example, The Beatles are the saints of the 1960s, and George Harrison an especially "heavy person". This year, heavy people flock together. Clapton and Steve Winwood join up in Blind Faith. Steve Marriott and Pete Frampton meet in Humble Pie. Crosby, Stills and Nash admit a new member, Neil Young. Supergroups, or more informal supersessions, serve as musical summit meetings for those who are reluctant to have theirwork tied down by the now antiquated notion of the "group". Trouble of one kind or another this year awaits the leading examples of this classic formation. Our cover stars The Rolling Stones this year part company with founder member Brian Jones. The Beatles, too, are changing - how, John Lennon wonders, can the group hope to contain three contributing writers? The Beatles diversification has become problematic. -
Psaudio Copper
Issue 12 AUGUST 1ST, 2016 August 1, 2016 Up the Ladder INCOMING LETTERS Written by Paul McGowan I am responding to the recent article on DACs and the quick brush-off of ladder DACs. (Richard Murison’s “My Kingdom for a DAC”, Richard didn’t brush off ladder DACs so much as say that they were damned hard to build properly --Ed.) There are several R2R or ladder DACs on the market and in my opinion and that of many others they are far superior to any delta-sigma DAC on the market. The best example is the Audio-GD Master 7 dac. Also, the great Audio Note DACs are ladder DACs. These DACs have a musicallity that delta- sigma DACs dream about. Delta-sigma dacs are used mostly because R2R chips are simply too difficult and expensive to make.The old R2R chips are expensive, hard to find and no longer in production. I believe Mytek is making an R2R chip and Audio Note has one in development. Did a recent comparison of my Master 7 with a friend’s DCS stack and even he thought the Master 7 was better. The DCS is 10 times the price. Yes, a ladder DAC will not do DSD, but for me that is no great loss. Alan Hendler Doesn't Like Tchaikovsky Either Three cheers for Mr. Schenbeck. He writes concisely and entertainingly and, with his adroit embedding of musical examples, uses the electronic magazine format as it should be used. I look forward to each of his contributions. Never much liked Tchaikovsky either. -
Spinning Wheel (1969) Blood, Sweat & Tears
MUSC-21600: The Art of Rock Music Prof. Freeze Spinning Wheel (1969) Blood, Sweat & Tears LISTEN FOR • Fusion of musical styles • Prominent horn section (like in big band) • Sophisticated jazz harmonies, improvisation • Syncopated R&B bass riffs • Heavy rock backbeat CREATION Songwriters David Clayton-Thomas Album Blood, Sweat & Tears Label Columbia 44871 Musicians David Clayton-Thoma (vocals), Steve Katz (guitar), Bobby Colomby (drums), Jim Fielder (Bass), Fred Lipsius (alto saxophone), Lew Soloff (trumpet), Alan Rubin (trumpet), Jerry Hyman (trombone), Dick Halligan (piano) Producer James William Guercio Engineer Roy Halee, Fred Catero Recording October 1968; stereo Charts Pop 2, Easy 1, R&B 45 MUSIC Genre Jazz rock Form Simple verse with contrasting middle section, improvised solos, complex outro Key G major Meter 4/4 (alternates with 3/8 in Coda) MUSC-21600 Listening Guide Freeze “Spinning Wheel” (Blood, Sweat & Tears, 1969) LISTENING GUIDE Time Form Lyric Cue Listen For 0:00 Intro • Short intro for horns, with crescendo on sustained note and then riff punctuated by snare. 0:07 A1 “What goes up” • Vocals enter, accompanying texture gradually accumulates, starting with R&B bass/piano riff, then cowbell, drums, tambourine, horns. 0:21 • Refrain begins with stop time. 0:26 A2 “You got no money” • As before, with big-band-inspired horn section punctuating the texture, sometimes with jazzy, swung filler. 0:41 • Refrain. 0:46 B “Did you find” • Extensive contrasting section. • More four-square rhythmic structure with slower harmonic rhythm. • Ends with digital distortion of last vocal note. 1:16 Intro • Overlaps with previous section. 1:30 A3 “Someone is waiting” • As in A2, but with stop time for new stop time for trombone glissando (slide). -
Ic/Record Industry July 12, 1975 $1.50 Albums Jefferson Starship
DEDICATED TO THE NEEDS IC/RECORD INDUSTRY JULY 12, 1975 $1.50 SINGLES SLEEPERS ALBUMS ZZ TOP, "TUSH" (prod. by Bill Ham) (Hamstein, BEVERLY BREMERS, "WHAT I DID FOR LOVE" JEFFERSON STARSHIP, "RED OCTOPUS." BMI). That little of band from (prod. by Charlie Calello/Mickey Balin's back and all involved are at JEFFERSON Texas had a considerable top 40 Eichner( (Wren, BMI/American Com- their best; this album is remarkable, 40-1/10 STARSHIP showdown with "La Grange" from pass, ASCAP). First female treat- and will inevitably find itself in a their "Tres Hombres" album. The ment of the super ballad from the charttopping slot. Prepare to be en- long-awaited follow-up from the score of the most heralded musical veloped in the love theme: the Bolin - mammoth "Fandango" set comes in of the season, "A Chorus Line." authored "Miracles" is wrapped in a tight little hard rock package, lust Lady who scored with "Don't Say lyrical and melodic grace; "Play on waiting to be let loose to boogie, You Don't Remember" doin' every- Love" and "Tumblin" hit hard on all boogie, boogie! London 5N 220. thing right! Columbia 3 10180. levels. Grunt BFL1 0999 (RCA) (6.98). RED OCTOPUS TAVARES, "IT ONLY TAKES A MINUTE" (prod. CARL ORFF/INSTRUMENTAL ENSEMBLE, ERIC BURDON BAND, "STOP." That by Dennis Lambert & Brian Potter/ "STREET SONG" (prod. by Harmonia Burdon-branded electrified energy satu- OHaven Prod.) (ABC Dunhill/One of a Mundi) (no pub. info). Few classical rates the grooves with the intense Kind, BMI). Most consistent r&b hit - singles are released and fewer still headiness that has become his trade- makers at the Tower advance their prove themselves. -
SENATE JOINT RESOLUTION 803 By
SENATE JOINT RESOLUTION 803 By Henry A RESOLUTION to honor the memory of Earl Scruggs, an American musical treasure. WHEREAS, the members of this General Assembly and music fans around the globe were greatly saddened to learn of the passing of bluegrass music legend and American treasure, Mr. Earl Scruggs; and WHEREAS, Earl Scruggs was revered around the world as a musical genius whose innovative talent on the five-string banjo pioneered modern banjo playing and he crafted the sound we know as bluegrass music. We will never see his superior; and WHEREAS, born on January 6, 1924, in Flint Hill, North Carolina, Earl Eugene Scruggs was the son of George Elam Scruggs, a farmer and bookkeeper who played the banjo and fiddle, and Lula Ruppe Scruggs, who played the pump organ in church; and WHEREAS, after losing his father at the age of four, Earl Scruggs began playing banjo and guitar at a very young age, using the two-finger picking style on the banjo until he was about ten years old, when he began to use three - the thumb, index, and middle finger - in an innovative up-picking style that would become world-renowned and win international acclaim; and WHEREAS, as a young man, Mr. Scruggs' banjo mastery led him to play area dances and radio shows with various bands, including Lost John Miller and His Allied Kentuckians. In December of 1945, he quit high school and joined Bill Monroe's band, the Blue Grass Boys; and WHEREAS, with his magnificent banjo picking, the group's popularity soared and Earl Scruggs redefined the sound of bluegrass music, as evidenced on such classic Bill Monroe and the Blue Grass Boys tracks as "Blue Moon of Kentucky," "Blue Grass Breakdown," and "Molly and Tenbrooks (The Race Horse Song)"; and WHEREAS, with his mastery of the banjo and guitar matched only by his beautiful baritone, Mr. -
Course Description, Class Outline and Syllabus Instructor: Peter Elman
Course description, class outline and syllabus Instructor: Peter Elman Title: “A Round-Trip Road Trip of Country Music, 1950-present: From Nashville to California to Texas--and back.” Course Description: An up close and personal look at the golden era of American country music, this class will explore key movements that contributed to the explosive growth of country music as an industry, art form and subculture. The first half of this course will focus on three major regions: Nashville, California and Texas, and concentrate on the period 1950-1975. The second half will look at the women of country, discuss the making of a country song and record, look at the work of five great songsmiths, visit the country music of the 1980’s, and end with an examination of Americana music. The course will do this through lectures, photographs, recorded music, film clips, question and answer sessions, and the use of live music. The instructor will play piano, guitar and sing, and will choose appropriate examples from each region, period and style. - - - - - - - - - - - Course outline by week, with syllabus; suggested reading, listening and viewing Week one: The rise of “honky-tonk” music, 1940-60: Up from bluegrass—the roots of country music. Roy Acuff, Ernest Tubb, Hank Williams, Kitty Wells, Lefty Frizzell, Porter Wagoner, Jim Reeves, Webb Pierce, Ray Price, Hank Lochlin, Hank Snow, and the Grand Old Opry. Reading: The Nashville sound: bright lights and country music Paul Hemphill, 1970-- the definitive portrait of the roots of country music. Listening: 20 of Hank Williams Greatest Hits, Mercury, 1997 30 #1 Country Hits of the 1950s, 3-disc set, Direct Source, 1997 Viewing: O Brother Where Art Thou, 2000, by the Coen brothers America's Music: The Roots of Country 1996, three-part, six episode documentary. -
Still on the Road 1971 Recording Sessions
STILL ON THE ROAD 1971 RECORDING SESSIONS JANUARY 6 New York City, New York 1st A. J. Weberman Telephone Conversation 9 New York City, New York 2nd A. J. Weberman Telephone Conversation MARCH 16-19 New York City, New York 1st Greatest Hits recording session AUGUST 1 New York City, New York Bangla Desh Concerts SEPTEMBER 24 New York City, New York 2nd Greatest Hits recording session OCTOBER 5 New York City, New York David Bromberg recording session 30 New York City, New York Allen Ginsberg TV program 31 New York City, New York Jamming with Ginsberg and Amram NOVEMBER 4 New York City, New York George Jackson recording session 9-17, 20 New York City, New York Allen Ginsberg recording sessions Still On The Road: Bob Dylan performances and recording sessions 1971 1885 A. J. Weberman Telephone Conversation New York City, New York 6 January 1971 Notes. Telephone conversation between Bob Dylan and A. J. Weberman. Full conversation printed in The Fiddler Now Upspoke, Volume 1, Desolation Row Promotions, page 137. Unauthorized Releases (The release is unauthorized and is not associated with or approved by Bob Dylan or his current recording label) Released in the UK on THE CLASSIC INTERVIEWS VOLUME 2: THE WEBERMAN TAPES, Chrome Dreams CIS 2005, 1 August 2004. Mono telephone recording, 2 minutes. Session info updated 28 May 2012. Still On The Road: Bob Dylan performances and recording sessions 1971 1890 A. J. Weberman Telephone Conversation New York City, New York 9 January 1971 Notes Telephone conversation between Bob Dylan and A. J. Weberman . Full conversation printed in East Village Other, 19 January 1971 and reprinted in The Fiddler Now Upspoke, Volume 1, Desolation Row Promotions, page 137. -
The News Magazine of the University of Illinois School of Music from the Dean
WINTER 2012 The News Magazine of the University of Illinois School of Music From the Dean On behalf of the College of Fine and Applied Arts, I want to congratulate the School of Music on a year of outstanding accomplishments and to WINTER 2012 thank the School’s many alumni and friends who Published for alumni and friends of the School of Music at the University of Illinois at Urbana-Champaign. have supported its mission. The School of Music is a unit of the College of Fine and Applied Arts at the University of Illinois at Urbana-Champaign and has been an accredited institutional member of the National While it teaches and interprets the music of the past, the School is committed Association of Schools of Music since 1933. to educating the next generation of artists and scholars; to preserving our artistic heritage; to pursuing knowledge through research, application, and service; and Karl Kramer, Director Joyce Griggs, Associate Director for Academic Affairs to creating artistic expression for the future. The success of its faculty, students, James Gortner, Assistant Director for Operations and Finance J. Michael Holmes, Enrollment Management Director and alumni in performance and scholarship is outstanding. David Allen, Outreach and Public Engagement Director Sally Takada Bernhardsson, Director of Development Ruth Stoltzfus, Coordinator, Music Events The last few years have witnessed uncertain state funding and, this past year, deep budget cuts. The challenges facing the School and College are real, but Tina Happ, Managing Editor Jean Kramer, Copy Editor so is our ability to chart our own course. The School of Music has resolved to Karen Marie Gallant, Student News Editor Contributing Writers: David Allen, Sally Takada Bernhardsson, move forward together, to disregard the things it can’t control, and to succeed Michael Cameron, Tina Happ, B. -
The Songs of Bob Dylan
The Songwriting of Bob Dylan Contents Dylan Albums of the Sixties (1960s)............................................................................................ 9 The Freewheelin’ Bob Dylan (1963) ...................................................................................................... 9 1. Blowin' In The Wind ...................................................................................................................... 9 2. Girl From The North Country ....................................................................................................... 10 3. Masters of War ............................................................................................................................ 10 4. Down The Highway ...................................................................................................................... 12 5. Bob Dylan's Blues ........................................................................................................................ 13 6. A Hard Rain's A-Gonna Fall .......................................................................................................... 13 7. Don't Think Twice, It's All Right ................................................................................................... 15 8. Bob Dylan's Dream ...................................................................................................................... 15 9. Oxford Town ............................................................................................................................... -
Flows at Radio
VOL. LIX, NO. 29 Newspaper $3.95 Inside: Grammys Move To New York City THE ENTERTAINMENT TRADE MAGAZINE Decca’s Frazier River Flows at Radio o 82791 19360 4 37 VOL. LIX, NO. 29 MARCH 30, 1996 STAFF rcwi«i;aawmga GEORGE ALBERT President and Publisher KEITH ALBERT POP SINGLE THE ENTERTAINMENT TRADE MAGAZINE Exec. V.PJGeneral Manager Always Be My Baby M.R. MARTINEZ Managing Editor Mariah Carey EDITORIAL (Columbia) Los Angeles JOHN GOFF GIL ROBERTSON IV DAINA DARZIN HECTOR RESENDEZ. Latin Edtor URBAN SINGLE Nashville Cover Story WENDY NEWCOMER All Things... The New York Joe The Frazier River Flows J.S. GAER CHART RESEARCH (Island) Angeles Frazier River frontman Danny Frazier had a plan for his group of eclectic Los BRIAN PARMELLY musicians. He’d turn a saloon band into an act that would get signed to a major ZIV TONY RUIZ label. Doesn’t sound terribly original or uncommon, but the Decca recording act RAP SINGLE PETER FIRESTONE went from the River Saloon in Cincinnati, OH to a spot on the Cosh Box Country Nashville \A£>o-Hah! Got You... GAIL FRANCESCHI Singles chart and has been traveling the nation making folks at country radio spin MARKETING/ADVERTISING Busta Rhymes Nashville editor the single “She Got What She Deserves.” Wendy Newcomer Los Angeles (Elektra) talks with Frazier about the odyssey and the group’s prospects. FFiANK HIGGINBOTHAM JOHN RHYS —see page 5 BOB CASSELL Nashville COUNTRY SINGLE TED RANDALL Take A Stroll Near Hollywood And Vine New York You Can Feel Bad NOEL ALBERT Capitol New Media has, well, reinvented the famous intersection of Hollywood CIRCULATION Patty Loveless Arid Vine. -
In Loving Memory of Bob Johnston: Some People Mentor You Directly, in Person
in loving memory of bob johnston: some people mentor you directly, in person. other times, a person’s body of work mentors you, without their knowledge. for me, bob johnston was such a mentor. it’s impossible to listen to “blonde on blonde” and not learn something…be it about record production, or song writing, or musical arrangements. that record is a master class in creating a timeless work. the same is true of other johnston 1960’s productions…”highway 61”, “songs of love & hate”, “nashville skyline”, “john wesley harding”, “at folsom prison”, “songs from a room”…those records teach you that it’s about songs, and the people in the room playing them, end of story. there is an intimacy to all of those recordings that is staggering. nothing gets in the way between the song & the listener. it feels like the artists are playing those songs for you. that is because of bob Johnston. as a producer, you get paid to intervene…bob johnston had the good sense not to. bob trusted his musicans, and he trusted their songs. this was lesson number one in my mentorship. the unbelievable fact that most of the records we associate with him were made in 2 weeks or less was lesson number two. too much time could be just as much of a curse as too little, often worse in fact. the hallmark of a bob Johnston production is that you can almost hear the musicians listening to each other. that is a product of working quickly. It always felt like johnston took the producer’s version of the hippocratic oath, to do no harm.