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Noel Paul Stookey Bio
Noel Paul Stookey Bio Singer/songwriter Noel Paul Stookey has been altering both the musical and ethical landscape of this country and the world for decades—both as the “Paul” of the legendary Peter, Paul and Mary and as an independent musician who passionately belie es in bringing the spiritual into the practice of daily life! "unny, irre erently re erent, thoughtful, compassionately passionate, Stookey’s oice is known all across this land: from the “%edding Song” to “&n 'hese 'imes.” Noel and Betty, his bride of over )* years +but who’s counting,, moved with their three daughters to the coast of maine over forty years ago. since that time he’s done the occasional home town benefit and the here-and-there in-state show but ne er had undertaken a concentrated tour in one season. “& recorded all . of my maine concerts last summer - from ogun/uit to eastport - check '01' out on a map” he says, “and, though not all of the ideo or audio made 2prime time2, i was able to collect *3 music ideos for the 4VD and +amazingly, fit all *3 songs on the 7D to create this 1' 08ME: the maine tour package.” 'he songs in this newest release represent a broad range: '0E 71(&N "959: %1;'< +homage to the rigors of enduring the lengthened winter in maine,, a new ersion of %01'S09:NAM9 +a bittersweet =az6 shaded reminiscence of a middle-aged man in denial, originally recorded on the PP&M ?@AA album, "1M&;&1 49; 78:1<8N +a new song that speaks to the immigration issue in compassionate rather than political terms,, %944&NB S8NG +with the 2original2 lyric and a spoken introduction - DVD only, and '0E ;1DY S1YS S09 48N2' ;&KE E1<< +a commentary on a common misperception of the creati e process,. -
INTERVIEWS from the 90'S
INTERVIEWS FROM THE 90’s 1 INTERVIEWS FROM THE 90’S p4. THE SONG TALK INTERVIEW, 1991 p27. THE AGE, APRIL 3, 1992 (MELBOURNE, AUSTRALIA) p30. TIMES THEY ARE A CHANGIN'.... DYLAN SPEAKS, APRIL 7, 1994 p33. NEWSWEEK, MARCH 20, 1995 p36. EDNA GUNDERSEN INTERVIEW, USA TODAY, MAY 5, 1995 p40. SUN-SENTINEL TODAY, FORT LAUDERDALE, SEPT. 29, 1995 p45. NEW YORK TIMES, SEPT. 27, 1997 p52. USA TODAY, SEPT. 28, 1997 p57. DER SPIEGEL, OCT. 16, 1997 p66. GUITAR WORLD MAGAZINE, MARCH 1999 Source: http://www.interferenza.com/bcs/interv.htm 2 3 THE SONG TALK INTERVIEW, 1991 Bob Dylan: The Song Talk Interview. By: Paul Zollo Date: 1991 Transcribed from GBS #3 booklet "I've made shoes for everyone, even you, while I still go barefoot" from "I and I" By Bob Dylan Songwriting? What do I know about songwriting? Bob Dylan asked, and then broke into laughter. He was wearing blue jeans and a white tank-top T-shirt, and drinking coffee out of a glass. "It tastes better out of a glass," he said grinning. His blonde acoustic guitar was leaning on a couch near where we sat. Bob Dylan's guitar . His influence is so vast that everything that surrounds takes on enlarged significance: Bob Dylan's moccasins. Bob Dylan's coat . "And the ghost of 'lectricity howls in the bones of her face Where these visions of Johanna have now taken my place. The harmonicas play the skeleton keys and the rain And these visions of Johanna are now all that remain" from "Visions of Johanna" Pete Seeger said, "All songwriters are links in a chain," yet there are few artists in this evolutionary arc whose influence is as profound as that of Bob Dylan. -
Peter Paul and Mary.Pptx
Peter, Paul and Mary Group 3: Chen Chen & Hailey Funk Outline • Biography -- Peter; Paul; Mary; Albert Gross the group • Album timeline • Musical style • Musical Analysis (vocal, instrumentation) • Comparison between Peter, Paul and Mary's cover version and original version • Musical influence on&of Peter, Paul and Mary Biography-Peter • Born May 31st 1938, in New York City • learned guitar and violin early on o Went to high school for "Music and Art" • Got a Bachelor's degree in psychology from Cornell • Met Mary and Paul in Greenwich Village (1960) o Due to manager, Albert Grossman Biography-Paul • Born Dec. 30 1937 in Baltimore, Maryland as Noel "Paul" Stookey • Raised in Michigan • Learned to play guitar at 11 • Graduated from Michigan State University o he was a master of ceremonies o involved in band, Corsairs • Moved to New York in 1959 • Worked in sales and at a club in Greenwich Village o Albert Grossman introduced him to Peter and Mary Biography-Mary • Born November 9 1936 in Louisville, Kentucky • Raised in Greenwich Village • Her and schoolmates sang backup for Pete Seeger's album • Dropped out of high school in 11th grade • In Broadway musical The Next President Albert Grossman • Manager of folk/folk rock: o Bob Dylan o Janis Joplin o +others • Put together Peter, Paul and Mary • looking for tall and blonde women (Mary), a good-looking guy (Peter) and a comedic man (Paul). Biography-Peter, Paul and Mary After auditioning several singers in the New York folk scene, Albert Grossman, the Manager, created Peter, Paul and Mary in 1961, After rehearsing them out of town in Boston and Miami, Grossman booked them into The Bitter End, a coffee house, nightclub and popular folk music venue in New York City's Greenwich Village. -
View Song List
Piano Bar Song List 1 100 Years - Five For Fighting 2 1999 - Prince 3 3am - Matchbox 20 4 500 Miles - The Proclaimers 5 59th Street Bridge Song (Feelin' Groovy) - Simon & Garfunkel 6 867-5309 (Jenny) - Tommy Tutone 7 A Groovy Kind Of Love - Phil Collins 8 A Whiter Shade Of Pale - Procol Harum 9 Absolutely (Story Of A Girl) - Nine Days 10 Africa - Toto 11 Afterglow - Genesis 12 Against All Odds - Phil Collins 13 Ain't That A Shame - Fats Domino 14 Ain't Too Proud To Beg - The Temptations 15 All About That Bass - Meghan Trainor 16 All Apologies - Nirvana 17 All For You - Sister Hazel 18 All I Need Is A Miracle - Mike & The Mechanics 19 All I Want - Toad The Wet Sprocket 20 All Of Me - John Legend 21 All Shook Up - Elvis Presley 22 All Star - Smash Mouth 23 All Summer Long - Kid Rock 24 All The Small Things - Blink 182 25 Allentown - Billy Joel 26 Already Gone - Eagles 27 Always Something There To Remind Me - Naked Eyes 28 America - Neil Diamond 29 American Pie - Don McLean 30 Amie - Pure Prairie League 31 Angel Eyes - Jeff Healey Band 32 Another Brick In The Wall - Pink Floyd 33 Another Day In Paradise - Phil Collins 34 Another Saturday Night - Sam Cooke 35 Ants Marching - Dave Matthews Band 36 Any Way You Want It - Journey 37 Are You Gonna Be My Girl? - Jet 38 At Last - Etta James 39 At The Hop - Danny & The Juniors 40 At This Moment - Billy Vera & The Beaters 41 Authority Song - John Mellencamp 42 Baba O'Riley - The Who 43 Back In The High Life - Steve Winwood 44 Back In The U.S.S.R. -
1 Bob Dylan's American Journey, 1956-1966 September 29, 2006, Through January 6, 2007 Exhibition Labels Exhibit Introductory P
Bob Dylan’s American Journey, 1956-1966 September 29, 2006, through January 6, 2007 Exhibition Labels Exhibit Introductory Panel I Think I’ll Call It America Born into changing times, Bob Dylan shaped history in song. “Life’s a voyage that’s homeward bound.” So wrote Herman Melville, author of the great tall tale Moby Dick and one of the American mythmakers whose legacy Bob Dylan furthers. Like other great artists this democracy has produced, Dylan has come to represent the very historical moment that formed him. Though he calls himself a humble song and dance man, Dylan has done more to define American creative expression than anyone else in the past half-century, forming a new poetics from his emblematic journey. A small town boy with a wandering soul, Dylan was born into a post-war landscape of possibility and dread, a culture ripe for a new mythology. Learning his craft, he traveled a road that connected the civil rights movement to the 1960s counterculture and the revival of American folk music to the creation of the iconic rock star. His songs reflected these developments and, resonating, also affected change. Bob Dylan, 1962 Photo courtesy of John Cohen Section 1: Hibbing Red Iron Town Bobby Zimmerman was a typical 1950’s kid, growing up on Elvis and television. Northern Minnesota seems an unlikely place to produce an icon of popular music—it’s leagues away from music birthplaces like Memphis and New Orleans, and seems as cold and characterless as the South seems mysterious. Yet growing up in the small town of Hibbing, Bob Dylan discovered his musical heritage through radio stations transmitting blues and country from all over, and formed his own bands to practice the newfound religion of rock ‘n’ roll. -
A New Era for Wind Power in the United States
Chapter 4 Wind Vision: A New Era for Wind Power in the United States 1 Table of Contents Message from the Director ..................................................................................................................................... xiii Acronyms .......................................................................................................................................................................xv Executive Summary: Overview ...........................................................................................................................xxiii Contents of Table Executive Summary: Key Chapter Findings ..................................................................................................xxvii ES.1 Introduction ........................................................................................................................................................................xxvii ES.1.1 Project Perspective and Approach ......................................................................................................................xxvii ES.1.2 Understanding the Future Potential for Wind Power ....................................................................................xxix ES.1.3 Defining a Credible Scenario to Calculate Costs, Benefits, and Other Impacts .....................................xxxi ES.2 State of the Wind Industry: Recent Progress, Status and Emerging Trends ................................................xxxiv ES.2.1 Wind Power Markets and Economics ................................................................................................................xxxv -
Swarthmore Folk Alumni Songbook 2019
Swarthmore College ALUMNI SONGBOOK 2019 Edition Swarthmore College ALUMNI SONGBOOK Being a nostalgic collection of songs designed to elicit joyful group singing whenever two or three are gathered together on the lawns or in the halls of Alma Mater. Nota Bene June, 1999: The 2014 edition celebrated the College’s Our Folk Festival Group, the folk who keep sesquicentennial. It also honored the life and the computer lines hot with their neverending legacy of Pete Seeger with 21 of his songs, plus conversation on the folkfestival listserv, the ones notes about his musical legacy. The total number who have staged Folk Things the last two Alumni of songs increased to 148. Weekends, decided that this year we’d like to In 2015, we observed several anniversaries. have some song books to facilitate and energize In honor of the 125th anniversary of the birth of singing. Lead Belly and the 50th anniversary of the Selma- The selection here is based on song sheets to-Montgomery march, Lead Belly’s “Bourgeois which Willa Freeman Grunes created for the War Blues” was added, as well as a new section of 11 Years Reunion in 1992 with additional selections Civil Rights songs suggested by three alumni. from the other participants in the listserv. Willa Freeman Grunes ’47 helped us celebrate There are quite a few songs here, but many the 70th anniversary of the first Swarthmore more could have been included. College Intercollegiate Folk Festival (and the We wish to say up front, that this book is 90th anniversary of her birth!) by telling us about intended for the use of Swarthmore College the origins of the Festivals and about her role Alumni on their Alumni Weekend and is neither in booking the first two featured folk singers, for sale nor available to the general public. -
Camino Songs
Camino Songs 500 Miles Peter Paul and Mary If you miss the train I’m on, you will know that I am gone You can hear the whistle blow a hundred miles, A hundred miles, a hundred miles, a hundred miles, a hundred miles, You can hear the whistle blow a hundred miles. Lord I’m one, Lord I’m two, Lord I’m three, Lord I’m four, Lord I’m 500 miles from my home. 500 miles, 500 miles, 500 miles, 500 miles Lord I’m five hundred miles from my home. Not a shirt on my back, not a penny to my name Lord I can’t go a-home this a-way This a-away, this a-way, this a-way, this a-way, Lord I can’t go a-home this a-way. If you miss the train I’m on you will know that I am gone You can hear the whistle blow a hundred miles. Auld Lange Syne Robert Burns Should auld acquaintance be forgot And never brought to mind? Should auld acquaintance be forgot And days o' lang syne? Chorus: For auld lang syne, my Dear For auld lang syne We'll tak a cup o kindness yet For auld lang syne And surely ye'11 be your pint-stowp And surely I'll be mine And we'll tak a cup o' kindness yet For auld lang syne (Chorus) We twa hae run about the braes And pu'd the gowans fine But we've wandered mony a weary foot Sin auld lang syne (Chorus) We twa hae paidlet i' the burn Frae morning sun sill dine But seas between us braid hae roar'd Sin auld lang syne (Chorus) And there's a hand, my trusty feire And gie's a hand o' thine And we'll tak a right gude-willie waught For auld lang syne (Chorus) Blowin' In The Wind Bob Dylan How many roads most a man walk down Before you call him a man ? How many seas must a white dove sail Before she sleeps in the sand ? Yes, how many times must the cannon balls fly Before they're forever banned ? The answer my friend is blowin' in the wind The answer is blowin' in the wind. -
Peter, Paul and Mary in the Wind Mp3, Flac, Wma
Peter, Paul And Mary In The Wind mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: In The Wind Country: Germany Released: 1971 Style: Folk MP3 version RAR size: 1763 mb FLAC version RAR size: 1109 mb WMA version RAR size: 1567 mb Rating: 4.4 Votes: 420 Other Formats: WAV DXD XM AA AAC MMF AHX Tracklist Hide Credits Very Last Day A1 Written-By – Stookey*, Yarrow* Hush-A-Bye A2 Written-By – Stookey*, Yarrow* Long Chain On A3 Written-By – Jimmy Driftwood Rocky Road A4 Written-By – Grossman*, Stookey*, Yarrow* Tell It On The Mountain A5 Written-By – Travers*, Okun*, Stookey*, Yarrow* Polly Von A6 Written-By – Travers*, Stookey*, Yarrow* Stewball B1 Written-By – Mezzetti*, Travers*, Okun*, Stookey* All My Trials B2 Written-By – Okun*, Stookey*, Yarrow* Don't Think Twice, It's All Right B3 Written-By – Bob Dylan Freight Train B4 Written-By – Mezzetti*, Travers*, Okun*, Stookey* Quit Your Lowdown Ways B5 Written-By – Bob Dylan Blowin' In The Wind B6 Written-By – Bob Dylan Companies, etc. Made By – TELDEC Record Company – Kinney Music GmbH Record Company – Warner Bros. Inc. Credits Bass – Edgar O. DeHaas Design [Jacket] – Push Pin Studios Directed By [Musical Director] – Milton Okun Engineer [Recording] – Bill Schwartau Liner Notes – Bob Dylan Photography By [Cover, Liner] – Barry Feinstein Producer – Albert B. Grossman Notes Green label design denotes Kinney Music GmbH at the bottom. Barcode and Other Identifiers Rights Society (boxed): GEMA Matrix / Runout (in brackets on labels and on cover front): WS 1507 Matrix / Runout (Side 1 stamped): LP-Ste-S-038799-X Matrix / Runout (Side 2 stamped): LP-Ste-S-038800-X Other versions Category Artist Title (Format) Label Category Country Year Peter, Paul And In The Wind (LP, Album, Warner Bros. -
Campfire Songbook
Linda’s Campfire Songbook Remembered, Recollected and Rehashed so they can be Resung The majority of these songs are from my own Girl Scout days, learned at troop meetings and camps. While I remembered most of them (I can’t remember names from yesterday, but I can remember songs from 30+ years ago!), the Internet helped me fill in missing words or actions and jogged my memory. A few songs in here I’ve added from my time leading a children’s choir. Then there are those few that I found on the ‘net, knew the tune, and thought they were worth adding. I hope you enjoy these! Choruses / refrains in songs are indented rather than labeled. You know when to sing ‘em – in between verses! Any song that does choruses in a different way will be noted. First compiled August 3, 2006 Last Updated October 9, 2006 Table of Contents Opening Action Songs, continued Hello Hello 3 My Aunt Came Back 11 More We Get Together 3 Noble Duke of York 11 Rise Up Oh Flame 3 On a Day Like This 12 Patsy Oree Oree Ay 12 Graces Peanut Butter 12 Auld Lang Syne Grace 3 Wada Lee Atcha 12 Be Present At Our Table, Lord 3 You Can’t Roller Skate in a Buffalo Herd 13 Daylight Taps 3 Doo Wah Diddy Grace 3 Silly Songs For Health and Strength 3 Ain’t Gonna Rain 14 God Has Created a New Day 3 Ain’t It Great to be Crazy 14 God Is Great 3 All You Etta 14 God Our Father 3 Be Kind to Your WebFooted Friends 15 Morning is Here 3 Billboard Song 15 Orchard and Ocean 4 Boa Constrictor 15 Rock You Grace 4 Donut Song 15 Thanks Be To God 4 Fast Food 15 Time To Eat 4 First Aider’s Song 16 We -
Rubber Souls: Rock and Roll and the Racial Imagination
Rubber Souls: Rock and Roll and the Racial Imagination The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Hamilton, John C. 2013. Rubber Souls: Rock and Roll and the Racial Imagination. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:11125122 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Rubber Souls: Rock and Roll and the Racial Imagination A dissertation presented by Jack Hamilton to The Committee on Higher Degrees in American Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of American Studies Harvard University Cambridge, Massachusetts April 2013 © 2013 Jack Hamilton All rights reserved. Professor Werner Sollors Jack Hamilton Professor Carol J. Oja Rubber Souls: Rock and Roll and the Racial Imagination Abstract This dissertation explores the interplay of popular music and racial thought in the 1960s, and asks how, when, and why rock and roll music “became white.” By Jimi Hendrix’s death in 1970 the idea of a black man playing electric lead guitar was considered literally remarkable in ways it had not been for Chuck Berry only ten years earlier: employing an interdisciplinary combination of archival research, musical analysis, and critical race theory, this project explains how this happened, and in doing so tells two stories simultaneously. -
The Uneven Heart
Chapter 10 The Uneven Heart BOB DYLAN THE MUSICIAN T IS EASY to be seduced by Dylan’s lyrics: they were essential when he was nominated for ‘Voice of a Generation’, and they stuck in the fans’ throats I when he converted to Christianity. Equally easy is it to question his mu- sical abilities: ‘He can’t sing’, ‘he can’t play the harmonica’, ‘he only knows three guitar chords’, ‘his lyrics are good, but I can’t stand the voice’. Et cetera … et cetera … But what if it’s first and foremost the music that has captured one’s atten- tion? Or put differently: if one is of the opinion that what is said cannot meaningfully be separated from how it is said? (this is a more unproblematic premise in painting, where how something is painted is usually considered more important than what the painting is of). In this article, I argue that what is most appealing about Dylan’s art and what creates the impression that what he does and says is significant, is the sense of a direct address as an expression of a life and a pulse, and that this aspect of his work first and foremost comes to expression through musical means, and not through the lyrics, because the meaning of a song is not primarily textual but musical, in a fundamental sense: it is based on the conflation of a sound and a set of meaningful associations. This theme may be introduced through two examples. My very first en- counter with Dylan’s music was not through Dylan himself, but through Peter, Paul and Mary, in a clip which I have later identified as a performance from the Newport festival, taken from the documentary Festival (1967).