Robert Nighthawk Black Angel Blues Mp3, Flac, Wma

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Robert Nighthawk Black Angel Blues mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Blues Album: Black Angel Blues Country: Italy Released: 1984 Style: Electric Blues, Piano Blues MP3 version RAR size: 1609 mb FLAC version RAR size: 1738 mb WMA version RAR size: 1332 mb Rating: 4.1 Votes: 706 Other Formats: DMF MPC XM MPC RA AHX AAC Tracklist A1 Down The Line A2 Handsome Lover A3 My Sweet Lovin' Woman A4 Sweet Black Angel A5 Anna Lee Blues A6 Return Mail Blues A7 Sugar Papa B1 She Knows How To Love A Man B2 Good News B3 Six Three O B4 Prison Bound B5 Jackson Town Gal B6 Sorry My Angel B7 Someday Credits Bass – Jack Meyers (tracks: B5), Willie Dixon Drums – Clifton James (tracks: B5) Guitar – Buddy Guy (tracks: B5) Harmonica – Shakey Horton* (tracks: B5) Piano – Ernest Lane, Lafayette Leake (tracks: B5) Vocals – Ethel Mae (tracks: A1, A2, A7, B2) Barcode and Other Identifiers Barcode: 8481501351 Other versions Category Artist Title (Format) Label Category Country Year Black Angel Blues (LP, Chess, P-Vine PLP-6015 Robert Nighthawk PLP-6015 Japan 1984 Comp) Special Sweet Black Angel (CD, 33054 Robert Nighthawk Roots 33054 2000 Shape, Comp, RE) Related Music albums to Black Angel Blues by Robert Nighthawk Sonny Boy Williamson - Stop Crying Buddy Guy - Stone Crazy Fleetwood Mac, Otis Spann, Willie Dixon, Shakey Horton, J.T. Brown, Guitar Buddy, Honeyboy Edwards, S.P. Leary - Blues Jam In Chicago - Volume One Willie Dixon - The Willie Dixon Collection 20 Golden Greats Black Angel - Black Angel Muddy Waters - The Chess Box Robert Nighthawk & Forrest City Joe - Robert Nighthawk & Forrest City Joe B.B. King - Sweet Little Angel The Rolling Stones - Tumbling Dice/Sweet Black Angel/Happy/All Down The Line 45's Singles Case The Rolling Stones - Tumbling Dice / Sweet Black Angel Black Angel - Various - Blues Masters, Volume 8: Mississippi Delta Blues.

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Ho Li Day Se Asons and Va Ca Tions Fei Er Tag Und Be Triebs Fe Rien BEAR FAMILY Will Be on Christmas Ho Li Days from Vom 23
Ho li day se asons and va ca tions Fei er tag und Be triebs fe rien BEAR FAMILY will be on Christmas ho li days from Vom 23. De zem ber bis zum 12. Ja nuar macht De cem ber 23rd to Ja nuary 12th. During that peri od BEAR FAMILY Weihnach tsfe rien. Bestel len Sie in die ser plea se send written orders only. The staff will be back Zeit bitte nur schriftlich. Ab dem 12. Janu ar 2004 sind ser ving you du ring our re gu lar bu si ness hours on Mon- wir wie der für Sie da. Bei die ser Ge le gen heit be dan ken day 12th, 2004. We would like to thank all our custo - wir uns für die gute Zusam menar beit im ver gange nen mers for their co-opera ti on in 2003. It has been a Jahr. plea su re wor king with you. BEAR FAMILY is wis hing you a Wir wünschen Ihnen ein fro hes Weih nachts- Merry Christmas and a Happy New Year. fest und ein glüc kliches neu es Jahr. COUNTRY...............................2 BEAT, 60s/70s.........................66 AMERICANA/ROOTS/ALT. ........................19 SURF ........................................73 OUTLAWS/SINGER-SONGWRITER ..................22 REVIVAL/NEO ROCKABILLY .......................75 WESTERN .....................................27 BRITISH R&R ...................................80 C&W SOUNDTRACKS............................28 INSTRUMENTAL R&R/BEAT ........................80 C&W SPECIAL COLLECTIONS ......................28 COUNTRY AUSTRALIA/NEW ZEALAND ...............29 POP ......................................82 COUNTRY DEUTSCHLAND/EUROPE .................30 POP INSTRUMENTAL ............................90
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Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources
Discography Of The Vanguard Label Vanguard Records was established in New York City in 1947. It was owned by Maynard and Seymour Solomon. The label released classical, folk, international, jazz, pop, spoken word, rhythm and blues and blues. Vanguard had a subsidiary called Bach Guild that released classical music. The Solomon brothers started the company with a loan of $10,000 from their family and rented a small office on 80 East 11th Street. The label was started just as the 33 1/3 RPM LP was just gaining popularity and Vanguard concentrated on LP’s. Vanguard commissioned recordings of five Bach Cantatas and those were the first releases on the label. As the long play market expanded Vanguard moved into other fields of music besides classical. The famed producer John Hammond (Discoverer of Robert Johnson, Bruce Springsteen Billie Holiday, Bob Dylan and Aretha Franklin) came in to supervise a jazz series called Jazz Showcase. The Solomon brothers’ politics was left leaning and many of the artists on Vanguard were black-listed by the House Un-American Activities Committive. Vanguard ignored the black-list of performers and had success with Cisco Houston, Paul Robeson and the Weavers. The Weavers were so successful that Vanguard moved more and more into the popular field. Folk music became the main focus of the label and the home of Joan Baez, Ian and Sylvia, Rooftop Singers, Ramblin’ Jack Elliott, Doc Watson, Country Joe and the Fish and many others. During the 1950’s and early 1960’s, a folk festival was held each year in Newport Rhode Island and Vanguard recorded and issued albums from the those events.
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Band/Surname First Name Title Label No
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ELECTRIC BLUES the DEFINITIVE COLLECTION Ebenfalls Erhältlich Mit Englischen Begleittexten: BCD 16921 CP • BCD 16922 CP • BCD 16923 CP • BCD 16924 CP
BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL sandra.wohlers@bear-family.de PLUG IT IN! TURN IT UP! ELECTRICELECTRIC BBLUESLUES DAS STANDARDWERK G Die bislang umfassendste Geschichte des elektrischen Blues auf insgesamt 12 CDs. G Annähernd fünfzehneinhalb Stunden elektrisch verstärkte Bluessounds aus annähernd siebzig Jahren von den Anfängen bis in die Gegenwart. G Zusammengestellt und kommentiert vom anerkannten Bluesexeperten Bill Dahl. G Jede 3-CD-Ausgabe kommt mit einem ca. 160-seitigen Booklet mit Musikerbiografien, Illustrationen und seltenen Fotos. G Die Aufnahmen stammen aus den Archiven der bedeutendsten Plattenfirmen und sind nicht auf den Katalog eines bestimmten Label beschränkt. G VonT-Bone Walker, Muddy Waters, Howlin' Wolf, Ray Charles und Freddie, B.B. und Albert King bis zu Jeff Beck, Fleetwood Mac, Charlie Musselwhite, Ronnie Earl und Stevie Ray Vaughan. INFORMATIONEN Mit insgesamt annähernd dreihundert Einzeltiteln beschreibt der Blueshistoriker und Musikwissenschaftler Bill Dahl aus Chicago die bislang umfassendste Geschichte des elektrischen Blues von seinen Anfängen in den späten 1930er Jahren bis in das aktuelle Jahrtausend. Bevor in den Dreißigerjahren Tonabnehmersysteme, erste primitive Verstärker und Beschallungssysteme und schließ- lich mit Gibsons ES-150 ein elektrisches Gitarren-Serienmodell entwickelt wurde, spielte die erste Generation der Gitarrenpioniere im Blues in den beiden Jahrzehnten vor Ausbruch des Zweiten Weltkriegs auf akustischen Instrumenten. Doch erst mit Hilfe der elektrischen Verstärkung konnten sich Gitarristen und Mundharmonikaspielern gegenüber den Pianisten, Schlagzeugern und Bläsern in ihrer Band behaupten, wenn sie für ihre musikalischen Höhenflüge bei einem Solo abheben wollten. Auf zwölf randvollen CDs, jeweils in einem Dreier-Set in geschmackvollen und vielfach aufklappbaren Digipacks, hat Bill Dahl die wichtigsten und etliche nahezu in Vergessenheit geratene Beispiele für die bedeutendste Epoche in der Geschichte des Blues zusammengestellt.
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Songs by Title Title Artist Title Artist - Human Metallica (I Hate) Everything About You Three Days Grace "Adagio" From The New World Symphony Antonín Dvorák (I Just) Died In Your Arms Cutting Crew "Ah Hello...You Make Trouble For Me?" Broadway (I Know) I'm Losing You The Temptations "All Right, Let's Start Those Trucks"/Honey Bun Broadway (I Love You) For Sentimental Reasons Nat King Cole (Reprise) (I Still Long To Hold You ) Now And Then Reba McEntire "C" Is For Cookie Kids - Sesame Street (I Wanna Give You) Devotion Nomad Feat. MC "H.I.S." Slacks (Radio Spot) Jay And The Mikee Freedom Americans Nomad Featuring MC "Heart Wounds" No. 1 From "Elegiac Melodies", Op. 34 Grieg Mikee Freedom "Hello, Is That A New American Song?" Broadway (I Want To Take You) Higher Sly Stone "Heroes" David Bowie (If You Want It) Do It Yourself (12'') Gloria Gaynor "Heroes" (Single Version) David Bowie (If You're Not In It For Love) I'm Outta Here! Shania Twain "It Is My Great Pleasure To Bring You Our Skipper" Broadway (I'll Be Glad When You're Dead) You Rascal, You Louis Armstrong "One Waits So Long For What Is Good" Broadway (I'll Be With You) In Apple Blossom Time Z:\MUSIC\Andrews "Say, Is That A Boar's Tooth Bracelet On Your Wrist?" Broadway Sisters With The Glenn Miller Orchestra "So Tell Us Nellie, What Did Old Ironbelly Want?" Broadway "So When You Joined The Navy" Broadway (I'll Give You) Money Peter Frampton "Spring" From The Four Seasons Vivaldi (I'm Always Touched By Your) Presence Dear Blondie "Summer" - Finale From The Four Seasons Antonio Vivaldi (I'm Getting) Corns For My Country Z:\MUSIC\Andrews Sisters With The Glenn "Surprise" Symphony No.
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Tampa Red: Guitar Wizard , RCA AXM2-5501
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Delta Music Heritage Research Project - Part I
II’m’m GGoin’oin’ OOverver ’’nn OOl’l’ HHelenaelena Arkansas Delta Music Heritage Research Project - Part I Prepared for Department of Arkansas Heritage Delta Cultural Center Helena, Arkansas Helena-West Helena Prepared by Advertising and Promotion Commission Mudpuppy & Waterdog, Inc. Helena, Arkansas Versailles, Kentucky December 31, 2015 I’m Goin’ Over’ n Ol’ Helena . Delta Music Heritage Research Project Part I Prepared by Joseph E. Brent Maria Campbell Brent Mudpuppy & Waterdog, Inc. 129 Walnut Street Versailles, Kentucky 40383 Prepared for Katie Harrington, Director Department of Arkansas Heritage Delta Cultural Center 141 Cherry Street Helena, Arkansas 72342 Cathy Cunningham, Chairman Helena-West Helena Advertising and Promotion Commission PO Box 256 Helena, Arkansas 72342 December 31, 2015 Table of Contents Part I Acknowledgments ...............................................................................................................1 Introduction ........................................................................................................................3 Musical Heritage of the Arkansas Delta ............................................................................5 Blues Music in the Arkansas Delta ....................................................................................7 Blues Artists of the Arkansas Delta ....................................................................................37 Part II The Growth of Popular Music ...........................................................................................1
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'Some Sweet Day'
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Lady Sings the Blues: a Woman’S Perspective on Authenticity
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85:40:28 Total Tracks Size: 11.4 GB
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'Til) I Kissed You (2:20
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Queer Blues Women Final Paper (To Submit)
Jankoski !1 Olivia Jankoski Professor Maria Sonevytsky Music, Gender, and Sexuality 18 May 2018 Where Girls Will Be Boys The Blues evolved post-abolition as a musical genre from its roots in Gospel music. Like its predecessor, which developed during slavery, the Blues was a uniquely African American art form that held the promise of freedom from oppression in its lyrics. Gospel music, with its focus on the sacred, held the hope of deliverance from slavery in the idea of heaven and the afterlife. The Blues, however, had its focus on the secular need for immediate gratification; it promised freedom from all kinds of oppression, especially sexual repression. African Americans were no longer the property of owners who had the right to choose their slaves’ breeding partners, or who took sexual advantage of them at will. African American women were, for the first time, able to choose who they partnered with in their personal lives, and they could decide if and when they wanted to leave a particular relationship. While black men continued to lead the formalized church and religious-themed revival meetings, women’s voices became the vehicle of this new sexuality, and they quickly overtook men as the dominant voice of the Blues. Male Blues singers celebrated their freedom with songs of travelling and wandering without the burden of home or obligations. The female singer, however, enthusiastically celebrated ownership over herself, and her songs preached about the thrill of indulging her appetites. The founding mothers of the genre wrote and sang about matters that once were only spoken about in private, or not at all, and they Jankoski !2 went on to inspire African American art, life, and culture throughout the Twentieth Century and beyond.
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