The Drugstore Cowboys Bill Kirchen & Too Much Fun
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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). 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 issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious. -
Sound Recording in the British Folk Revival: Ideology, Discourse and Practice, 1950–1975
Sound recording in the British folk revival: ideology, discourse and practice, 1950–1975 Matthew Ord Submitted in fulfilment of the degree of PhD International Centre for Music Studies Newcastle University March 2017 Abstract Although recent work in record production studies has advanced scholarly understandings of the contribution of sound recording to musical and social meaning, folk revival scholarship in Britain has yet to benefit from these insights. The revival’s recording practice took in a range of approaches and contexts including radio documentary, commercial studio productions and amateur field recordings. This thesis considers how these practices were mediated by revivalist beliefs and values, how recording was represented in revivalist discourse, and how its semiotic resources were incorporated into multimodal discourses about music, technology and traditional culture. Chapters 1 and 2 consider the role of recording in revivalist constructions of traditional culture and working class communities, contrasting the documentary realism of Topic’s single-mic field recordings with the consciously avant-garde style of the BBC’s Radio Ballads. The remaining three chapters explore how the sound of recorded folk was shaped by a mutually constitutive dialogue with popular music, with recordings constructing traditional performance as an authentic social practice in opposition to an Americanised studio sound equated with commercial/technological mediation. As the discourse of progressive rock elevated recording to an art practice associated with the global counterculture, however, opportunities arose for the incorporation of rock studio techniques in the interpretation of traditional song in the hybrid genre of folk-rock. Changes in studio practice and technical experiments with the semiotics of recorded sound experiments form the subject of the final two chapters. -
Song Album 1. the Road to Bayamon Road to Bayamon 2. Blue Wing
TOM RUSSELL Song Album 1. The Road to Bayamon Road to Bayamon 2. Blue Wing Poor Man’s Dream 3. Gallo del Cielo Poor Man’s Dream 4. Navajo Rug Poor Man’s Dream 5. A Bad Half Hour Cowboy Real 6. Claude Dallas Cowboy Real 7. The Rose of the San Joaquin The Rose of the San Joaquin 8. The Sky Abow, The Mud Below Song of the West 9. Hallie Lonnigan Song of the West 10. Alkali Song of the West 11. The Dreamin’ The Man from God Knows Where 12. Sitting Bull in Venice The Man from God Knows Where 13. Where the Dream Begins Borderland 14. What Work Is Borderland 15. Isaac Lewis Modern Art 16. Tijuana Bible Modern Art 17. Tonight We Ride Indians Cowboys Horses and Dogs 18. Who’s Gonna Build Your Wall? Immigration Suite THE ROAD TO BAYAMON BLUE WING All You possum-belley queens get out of here He had a blue wing tattooed on his shoulder Gypsy's out for blood tonight might have been a bluebird, I don't know She's got love and hate tattooed on her fist but he got stone drunk and he talked about She's drunk and she's ready to fight Alaska salmon boats and 45 below She used to run a little shot end beer joint Now she's a jockey on the Astro ride well he got that blue wing at Walla Walla She took me for a whirl one night and his cellmate was a Little Willy John Man it messed me up inside Willie, he was once a great blues singer so Wing & Willie wrote him up a song Ay-Ay-Ay, oh the rain How long can this rain go on sang, it's dark in here, can't see the light There's nothing sadder than a carnival but I look at this blue wing when I close my On the road -
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960S and 1970S by Kathryn B. C
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960s and 1970s by Kathryn B. Cox A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology: History) in the University of Michigan 2018 Doctoral Committee: Professor Charles Hiroshi Garrett, Chair Professor James M. Borders Professor Walter T. Everett Professor Jane Fair Fulcher Associate Professor Kali A. K. Israel Kathryn B. Cox [email protected] ORCID iD: 0000-0002-6359-1835 © Kathryn B. Cox 2018 DEDICATION For Charles and Bené S. Cox, whose unwavering faith in me has always shone through, even in the hardest times. The world is a better place because you both are in it. And for Laura Ingram Ellis: as much as I wanted this dissertation to spring forth from my head fully formed, like Athena from Zeus’s forehead, it did not happen that way. It happened one sentence at a time, some more excruciatingly wrought than others, and you were there for every single sentence. So these sentences I have written especially for you, Laura, with my deepest and most profound gratitude. ii ACKNOWLEDGMENTS Although it sometimes felt like a solitary process, I wrote this dissertation with the help and support of several different people, all of whom I deeply appreciate. First and foremost on this list is Prof. Charles Hiroshi Garrett, whom I learned so much from and whose patience and wisdom helped shape this project. I am very grateful to committee members Prof. James Borders, Prof. Walter Everett, Prof. -
Yesterday and Today Records March 2007 Newsletter
March 2007 Newsletter ----------------------------------- Yesterday & Today Records 255A Church St Parramatta NSW 2150 phone/fax: (02) 96333585 email: [email protected] web: www.yesterdayandtoday.com.au ------------------------------------------------------ Postage: 1 cd $2.00/ 2cd $3/ 3-4 cds $5.80* (*Recent Australia Post price increase.) Guess what? We have just celebrated our 18th anniversary. Those who try things we recommend are rewarded. We have stayed in business for one reason and that is we have never attempted to appeal to the lowest common denominator as mainstream outlets do. At the same time we recognise that people do have different tastes and to some CMT is actually good. We also appeal to those people and offer many mainstream items in our bargain bin. But the legends and true country music are our bread butter and will always be. If you see something you think you may like but are worried let us know. If you pass our inquisition we may be able to send it on a sale or return basis. I say inquisition because if your favourite artists are SheDaisy and Rascal Flatts we certainly aren’t going to risk something as precious as Justin Trevino. By the same token we believe great music is timeless and knows no bounds. People may think chuck steak is good until they try the best rump! Recently I had the pleasure of seeing Dale Watson. Before hand I had the added pleasure of sitting in with my compatriot Eddie White (a.k.a. “The Cosmic Cowboy”) for an interview at the 2RRR Studios. Dale is a humble, engaging and extremely likeable man with a passion for tradition. -
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in Partial Fulfillment Of
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Dana DeVlieger, B.A., M.A. Graduate Program in Music The Ohio State University 2016 Thesis Committee: Graeme M. Boone, Advisor Johanna Devaney Anna Gawboy Copyright by Dana Lauren DeVlieger 2016 Abstract “Whiskey in the Jar” is a traditional Irish song that is performed by musicians from many different musical genres. However, because there are influential recordings of the song performed in different styles, from folk to punk to metal, one begins to wonder what the role of the song’s Irish heritage is and whether or not it retains a sense of Irish identity in different iterations. The current project examines a corpus of 398 recordings of “Whiskey in the Jar” by artists from all over the world. By analyzing acoustic markers of Irishness, for example an Irish accent, as well as markers of other musical traditions, this study aims explores the different ways that the song has been performed and discusses the possible presence of an “Irish feel” on recordings that do not sound overtly Irish. ii Dedication Dedicated to my grandfather, Edward Blake, for instilling in our family a love of Irish music and a pride in our heritage iii Acknowledgments I would like to thank my advisor, Graeme Boone, for showing great and enthusiasm for this project and for offering advice and support throughout the process. I would also like to thank Johanna Devaney and Anna Gawboy for their valuable insight and ideas for future directions and ways to improve. -
April '93 Sound
April ’93 . 2 No Vol. 9, SS UUNN DD The Making of the Album Cover by-step recount of the making of the cover art for Tom Russell’s new album, Box of Visions? It’s worth a try, Alex, so sit back while we clip these wires to your eyelids and crank up some Ludwig Van. by Arthur D. Bradley Readers will recall the tedious step-by-step recounting of how S produced the Tom HE PUBLIC HAS A FASCINATION in four countries: the United States (Philo), Russell band show at the Grand Emporium for details regarding the creative Canada (Stony Plain), Norway (Sonet), and (“The Heart of the Working Band,” Vol. 5, No. 2, process, be it the technically chal- Ireland (Round Tower). Hoping for a con- November ’92). During that first visit, plans lenging makeup application for sistent worldwide release next time out, he were made for my designing a band newsletter, Michael Jackson (“The Making of inquired as to my experience in cassette T to be called “Blood Shots.” Response was pos- and CD design. Thriller”) or the charming irony of Stevie itive and Tom seemed pleased with the printed Wonder demonstrating to Bob Dylan how “Oh, sure, I’ve done some stuff, mainly piece, which led to another assignment: a to sing like Bob Dylan (“The Making of We local,” I bluffed. It wasn’t exactly a fib, since press kit. Although the duotone effect on the Are The World”). In some ways, these be- my profession is that of a four-color graphic cover photo didn’t print as well as expected, hind-the-scenes videos are a bit like David artist, but it was definitely hedging a bet. -
Musikstile Quelle: Alphabetisch Geordnet Von Mukerbude
MusikStile Quelle: www.recordsale.de Alphabetisch geordnet von MukerBude - 2-Step/BritishGarage - AcidHouse - AcidJazz - AcidRock - AcidTechno - Acappella - AcousticBlues - AcousticChicagoBlues - AdultAlternative - AdultAlternativePop/Rock - AdultContemporary -Africa - AfricanJazz - Afro - Afro-Pop -AlbumRock - Alternative - AlternativeCountry - AlternativeDance - AlternativeFolk - AlternativeMetal - AlternativePop/Rock - AlternativeRap - Ambient - AmbientBreakbeat - AmbientDub - AmbientHouse - AmbientPop - AmbientTechno - Americana - AmericanPopularSong - AmericanPunk - AmericanTradRock - AmericanUnderground - AMPop Orchestral - ArenaRock - Argentina - Asia -AussieRock - Australia - Avant -Avant-Garde - Avntg - Ballads - Baroque - BaroquePop - BassMusic - Beach - BeatPoetry - BigBand - BigBeat - BlackGospel - Blaxploitation - Blue-EyedSoul -Blues - Blues-Rock - BluesRevival - Blues - Spain - Boogie Woogie - Bop - Bolero -Boogaloo - BoogieRock - BossaNova - Brazil - BrazilianJazz - BrazilianPop - BrillBuildingPop - Britain - BritishBlues - BritishDanceBands - BritishFolk - BritishFolk Rock - BritishInvasion - BritishMetal - BritishPsychedelia - BritishPunk - BritishRap - BritishTradRock - Britpop - BrokenBeat - Bubblegum - C -86 - Cabaret -Cajun - Calypso - Canada - CanterburyScene - Caribbean - CaribbeanFolk - CastRecordings -CCM -CCM - Celebrity - Celtic - Celtic - CelticFolk - CelticFusion - CelticPop - CelticRock - ChamberJazz - ChamberMusic - ChamberPop - Chile - Choral - ChicagoBlues - ChicagoSoul - Child - Children'sFolk - Christmas -
MUSIC 351: Psychedelic Rock of the 1960S Spring 2015, T 7:00–9:40 P.M., ENS-280
MUSIC 351: Psychedelic Rock of the 1960s Spring 2015, T 7:00–9:40 p.m., ENS-280 Instructor: Eric Smigel ([email protected]) M-235, office hours: Mondays & Tuesdays, 3:00–4:00 p.m. This is a lecture class that surveys psychedelic rock music and culture of the 1960s. Psychedelic music played an important role in the development of rock music as a predominant art form during one of the most formative decades in American history. Emerging along with the powerful counterculture of hippies in the mid-1960s, psychedelic rock reflects key elements of the “Love Generation,” including the peace movement, the sexual revolution, the pervasive use of recreational drugs (especially marijuana and LSD), and the growing awareness of Eastern philosophy. The main centers of countercultural activity—the Haight-Ashbury district of San Francisco and the London Underground—drew a high volume of media exposure, resulting in the famous “Summer of Love” and culminating in popular music festivals in Monterey, Woodstock, and Altamont. Students in this course will examine the music and lyrics of a selection of representative songs by The Grateful Dead, The Jefferson Airplane, Big Brother and the Holding Company, The Beatles, Pink Floyd, The Jimi Hendrix Experience, and other bands closely associated with the burgeoning psychedelic scene. Students will also consult primary source material—including interviews with several of the musicians, influential literature of the period, and essays by key figures of the movement—in order to gain insight into the social, political, -
Transatlanticana PR
RED HOUSE RECORDS Red House Records: Angie Carlson • [email protected] • (651) 644-4161 BILL KIRCHEN & AUSTIN DE LONE Transatlanticana New Studio Album Unites the Titan of the Telecaster with the Godfather of Pub Rock Recorded in Austin, TX and London, UK with an all star cast Tour and festival dates announced including Hardly Strictly Bluegrass 2016 (August 26, 2016; Red House Records) Bill Kirchen and Austin de Lone team up for a hands-across-the-Atlantic collection with their new studio album, Transatlanticana, out on August 26, 2016 on Red House Records. This long- overdue release unites the pioneers of two major musical movements: Kirchen co-founded the original “Americana” band, Commander Cody and his Lost Planet Airmen, and his trademark Telecaster licks drove their hit “Hot Rod Lincoln” into the Top 10 in 1972. De Lone dropped out of Harvard to start Eggs Over Easy, moving to London and recording with Jimi Hendrix’s producer/manager and The Animals’ bass player Chas Chandler in 1970. The Eggs are the progenitors of British pub rock, the first link in the chain to punk rock, new wave and beyond. Backed by both their all-star British and American bands, Transatlanticana finds Kirchen and de Lone trading songwriting credits and lead vocals on this soulful and rocking collection. They kick it off with the timely “Hounds of the Bakersfield,” a tribute to the late Merle Haggard and the Bakersfield, CA sound. Kirchen and de Lone cut the album in Austin and London, capturing on disc the best of their 30-year collaboration. -
Classic 5 Hand Reel
Shaking Out the Sheets: Dirty Linen Classics by Steve Winick tric folk. The band combined Irish and song, by the U.S.-based group the In this strange new world, Five Hand Scottish elements with punchy rhythms New St. George. Reel was arguably the top folk-rock that Fairport Convention and Steeleye The 1977 followup, For A’ That, was band recording in Britain, and, in Span had been working with in recorded less than a year later in the RCA, it certainly had the biggest label England. In that sense, it was an inter- same studio, with the same producer of any such group. RCA provided a national Anglo-Celtic electric folk band. and engineer and with the same lineup heftier budget for recording and Five Hand Reel’s eponymous first of musicians. Not surprisingly, it promotion of its third album, in the album won the coveted Folk Album of sounds like an extension of the original hopes of making the band into the new the Year designation from Melody album and could have been recorded at Steeleye Span.Fairport’s Simon Nicol Maker, the runner-up being June the same sessions. Themes and genres was enlisted as producer, and the band Tabor’s debut disc. It marries solid are revisited; Irish emigration is treated went into the studio and produced Earl O’Moray, an album quite different in musicianship, impassioned vocals, and in “Carrickfergus,” the Irish love lyric sound and tone from the first two. The imaginative arrangements. It opens in “P Stands for Paddy.” Two more album is heavy on anthems, from Five Hand Reel with a medley of Scottish songs sung sets of jigs and reels get the blood Burns’ effusive “My Love is Like by Gaughan, interspersed with Irish flowing. -
November '92 Sound
mb Nove er ’92 . 2 , NoSS UUNN DD HHHH, YOU DON’T know the shape I’m “O in,” Levon Helm was wailing plaintively over the P.A. as the lights came up at Off Broad- way, a St. Louis nightclub. The DJ’s choice of that particular Band normally prohibits). Brian McTavish of the number couldn’t have been more Star’s “Nighthawk” column was on assign- relevant. Four days on the road ment, so no luck there. A television spot with the Tom Russell Band were wasn't in the budget, so we'd have to rely coming to a close, leaving me primarily on word of mouth for ticket sales. fatigued and exhilarated at the same time. Day 1 – Kansas City The show had run late, and The Tom Russell Band, standin’ on the corner: Barry the management was doing its Ramus (bass), Fats Kaplin (accordion, pedal steel, Waiting at the Comfort Inn for the band harmonica, and more), Tom Russell (guitar, vocals), to roll in to town provided a chance to see a best to herd patrons out the Mike Warner (drums, backing vocals), Andrew Hardin door. As the crowd congratulat- (guitar, harmony vocals). prima donna in action. A member of Lash ing the band dispersed, S LaRue’sband was pressuring the desk clerk staff cartoonist Dug joined me in ap- to change his room assignment, first to down the hall, then, deciding that wasn’t proaching Tom, and in our best Wayne and up a request for an interview left on his toll good enough, to a different floor.