Joanna Newsom Have One on Me Mp3, Flac, Wma
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Low Anthem and Blind Pilot |
1/9/2017 Live Review: The Low Anthem and Blind Pilot | www.splicetoday.com EMAIL/USERNAME PASS (FORGOT?) Email Password NEW USER? LOGIN MUSIC DEC 02, 2009, 06:07AM Live Review: The Low Anthem and Blind Pilot Matt Poland [/authors/Matt%20Poland] Straight from the Cat’s Cradle in Carrboro, North Carolina. The following audio was included in this article: The following audio was included in this article: A few years after American indie folk’s middecade spike in visibility, which, with overexposed albums including Devendra Banhart’s Rejoicing in the Hands and Joanna Newsom’s Ys, may not have been a musical zenith, the http://www.splicetoday.com/music/live-review-the-low-anthem-and-blind-pilot 1/6 1/9/2017 Live Review: The Low Anthem and Blind Pilot | www.splicetoday.com genre has settled back into an unassuming position that seems to fit the music better. The “freak folk” fringe having largely faded, the nourishing, elemental influence of Americana in all its permutations continues to generate quietly exciting new music. This was evident last week at Cat’s Cradle in Carrboro, North Carolina, during an evening of itinerant, wornin, unbeaten songs performed by The Low Anthem and Blind Pilot. Both bands make music that is melancholy but not maudlin, that is steeped in oldtime American music but not anachronistic. The Low Anthem, a Rhode Island trio, began their set with pretty unconventional instrumentation: Ben Knox Miller playing acoustic guitar and singing, Jeffrey Prystowsky on organ, and Jocie Adams playing the crotales— sort of a small xylophone made up of discs instead of planks—with a violin bow, by far the most interesting thing I’ve seen done with a violin bow since I last saw Sigur Rós. -
Joanna Newsom Covers in the Blogosphere Shayne Pepper Northeastern Illinois University, [email protected]
Northeastern Illinois University NEIU Digital Commons Communication, Media and Theatre Faculty Communication, Media and Theatre Publications 2010 Joanna Newsom Covers in the Blogosphere Shayne Pepper Northeastern Illinois University, [email protected] Follow this and additional works at: https://neiudc.neiu.edu/cmt-pub Part of the Film and Media Studies Commons, and the Other Music Commons Recommended Citation Pepper, Shayne, "Joanna Newsom Covers in the Blogosphere" (2010). Communication, Media and Theatre Faculty Publications. 3. https://neiudc.neiu.edu/cmt-pub/3 This Book Chapter is brought to you for free and open access by the Communication, Media and Theatre at NEIU Digital Commons. It has been accepted for inclusion in Communication, Media and Theatre Faculty Publications by an authorized administrator of NEIU Digital Commons. For more information, please contact [email protected],[email protected],[email protected]. Joanna Newsom Covers in the Blogosphere Shayne Pepper “This is an old song. These are old blues. And this is not my song, but it’s mine to use.” -- “Sadie” Joanna Newsom’s 2004 album, The Milk-Eyed Mender, was released at a time when music blogs were reaching new levels of popularity within certain sections of music and online communities. During this time, songs from nearly every high profile indie rock release seemed to find their way onto music blogs (often, to the chagrin of the music industry, far before slated release dates). Newsom’s songs were no exception – she was often something of a hot topic on blogs like Stereogum, My Old Kentucky Blog, Brooklyn Vegan, Gorilla vs. -
59Th Annual Critics Poll
Paul Maria Abbey Lincoln Rudresh Ambrose Schneider Chambers Akinmusire Hall of Fame Poll Winners Paul Motian Craig Taborn Mahanthappa 66 Album Picks £3.50 £3.50 .K. U 59th Annual Critics Poll Critics Annual 59th The Critics’ Pick Critics’ The Artist, Jazz for Album Jazz and Piano UGUST 2011 MORAN Jason DOWNBEAT.COM A DOWNBEAT 59TH ANNUAL CRITICS POLL // ABBEY LINCOLN // PAUL CHAMBERS // JASON MORAN // AMBROSE AKINMUSIRE AU G U S T 2011 AUGUST 2011 VOLUme 78 – NUMBER 8 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed Associate Editor Aaron Cohen Contributing Editor Ed Enright Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. -
The History of Rock Music - the 2000S
The History of Rock Music - The 2000s The History of Rock Music: The 2000s History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2006 Piero Scaruffi) Bards and Dreamers (These are excerpts from my book "A History of Rock and Dance Music") Bards of the old world order TM, ®, Copyright © 2008 Piero Scaruffi All rights reserved. Traditionally, the purposefulness and relevance of a singer-songwriter were defined by something unique in their lyrical acumen, vocal skills and/or guitar or piano accompaniment. In the 1990s this paradigm was tested by the trend towards larger orchestrastion and towards electronic orchestration. In the 2000s it became harder and harder to give purpose and meaning to a body of work mostly relying on the message. Many singer-songwriters of the 2000s belonged to "Generation X" but sang and wrote for members of "Generation Y". Since "Generation Y" was inherently different from all the generations that had preceeded it, it was no surprise that the audience for these singer-songwriters declined. Since the members of "Generation X" were generally desperate to talk about themselves, it was not surprising that the number of such singer- songwriters increased. The net result was an odd disconnect between the musician and her or his target audience. The singer-songwriters of the 2000s generally sounded more "adult" because... they were. -
00:00:00 Music Music “Crown Ones” Off the Album Stepfather by People Under the Stairs
00:00:00 Music Music “Crown Ones” off the album Stepfather by People Under The Stairs 00:00:06 Oliver Wang Host Hello, I’m Oliver Wang. 00:00:08 Morgan Host And I’m Morgan Rhodes. You’re listening to Heat Rocks. Rhodes Every episode we invite a guest to join us to talk about a heat rock. You know, fire, combustibles, albums that bump eternally. Today we will be deep diving together into the cult classic 1971 album by Karen Dalton, In My Own Time. 00:00:24 Music Music “Take Me” off the album In My Own Time by Karen Dalton. Sad, slow music with crooning, raspy, vibrating vocals. Take me to your darkest room Close every window and lock every door [Music fades out as Morgan speaks.] 00:00:46 Morgan Host Turn to your neighbor and say, “I thank God I don’t look like what I’ve been through.” I can’t tell you how many times I’ve heard that over the years; and more than an acknowledgement of the virtue of melanin, it is meant to suggest that whatever else a close read of your backstory might reveal, pain doesn’t always show on your face. ‘Cause sometimes it shows up in your voice, as it did with Karen Dalton on her album for Paramount records, In My Own Time. Karen Dalton sounded like what she’d been through. Raspy world- weariness, longing and sadness, even on songs meant to be happy like Holland-Dozier’s “How Sweet It Is.” Karen Dalton did two things for sure on this album: uncovered pain on an album of covers, and spent those covers strumming her pain with her fingers, in blues, in folk, in gospel, and in rock. -
Nostalgia in Indie Folk by Claire Coleman
WESTERN SYDNEY UNIVE RSITY Humanities and Communication Arts “Hold on, hold on to your old ways”: Nostalgia in Indie Folk by Claire Coleman For acceptance into the degree of Doctor of Philosophy December 20, 2017 Student number 17630782 “Hold on, hold on to your old ways” – Sufjan Stevens, “He Woke Me Up Again,” Seven Swans Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. .............................................................................................. Claire Coleman Acknowledgements This thesis could not have been completed without the invaluable assistance of numerous colleagues, friends and family. The love, respect and practical support of these people, too many to name, buoyed me through the arduous privilege that is doctoral research. With special thanks to: The Supers – Dr Kate Fagan, Mr John Encarnacao and Associate Prof. Diana Blom My beloved – Mike Ford My family – Nola Coleman, Gemma Devenish, Neale Devenish, and the Fords. The proof-readers – Alex Witt, Anna Dunnill, Pina Ford, Connor Weightman and Nina Levy. My choir families – Menagerie, Berlin Pop Ensemble and Dienstag Choir Administrative staff at Western Sydney University Dr Peter Elliott Ali Kirby, Kate Ballard, Carol Shepherd, Kathryn Smith, Judith Schroiff, Lujan Cordaro, Kate Ford and the many cafes in Perth, Sydney and Berlin -
Apollo Ghosts Caribou / Babe Rainbow / Ryan Walter Wagner / the New Pornographers / Sxsw / Bison B.C
FREE! MAY 2010 // THAT EAZY-DUZ-IT MAGAZINE FROM CiTR 101.9 FM // SUPPORTING VANCOUVER'S INDEPENDENT MUSIC COMMUNITY FOR OVER 25 YEARS APOLLO GHOSTS CARIBOU / BABE RAINBOW / RYAN WALTER WAGNER / THE NEW PORNOGRAPHERS / SXSW / BISON B.C. / HOW TO BE A DJ PT. 2 EDITOR EDITOR'S NOTE Jordie Yow ART DIRECTOR Dear Discorder: Lindsey Hampton With spring just around the corner, this is time to Now, getting back to this issue: We've got some of make plans for summer. This is the time of year when Vancouver's heaviest hitters talking to us: Carl Newman PRODUCTION MANAGER all the planning for local festivals and concerts are hap- from the New Pornographers dropped Dan Fumano a line Debby Reis pening and I have a challenge for them. Over the last few to chat about his new album on page 14, James Farwell COPY EDITORS years members of Discorder and CiTR have been playing from Bison B.C., who's music is heavy in a different sense Alison Atkinson, Liz Brant, Debby a number of friendly softball games against groups like of the word, discusses the maturation of their music with Reis, Miné Salkin Megaphone, Adbusters and CBC Radio 3. This year we Scott Lyon on page 18, Polaris award winner Dan Snaith would like to extend the challenge to the entire Vancouver of Caribou talked with our Jackie Wong about his newest AD MANAGER music community. This is a personal challenge, but it is on endeavour on page 12, Sancho McCann met with some David Stansfield behalf of Discorder and CiTR. -
November Conductor David Morris
T h e Mouthpiece A Publication of the East Bay Recorder Society Volume 20, Number 3 November 2016 November Conductor David Morris Monthly Chapter David Morris has made a specialty of performing 17th- and 18th-century music on a variety of historical bass instruments. Dubbed a “basso continuo Meeting wizard” by Gramophone (UK), he has performed in the U.S. and abroad Friday, November 4, with the Boston Early Music Festival Orchestra, Tafelmusik, the Boston 2016 Symphony Orchestra and the Mark Morris Dance Group. He has recorded for Harmonia Mundi, Drag City Records (Joanna Newsom’s double-CD, 7:30 pm to 10:00 pm Have One on Me), CBC/ Radio-Canada and New Line Cinema (as viola da gamba soloist for The Nativity Story). He is a frequent coach for VdGSA and Zion Lutheran Church ARS events and coached at the Amherst, Madison and SFEMS early music workshops. 5201 Park Blvd. Oakland, CA. If your last name begins with C-L, please bring a snack for break, if possible. Everyone, bring a music stand, a pencil, and instruments (SATB and lower if you have them). Please arrive in time to set up and be ready to play at 7:30 pm. H David Morris, continued. I will be bringing a nice sampler of In Nomines for us to explore on November 4. The In Nomine was an exclusively English genre from the 16th and 17th centuries in which the Sarum antiphon Gloria tibi Trinitas was used as a cantus firmus; it was the most conspicuous single form in the early development of English consort music, with over 150 examples surviving. -
Download The
TE NE WOMAN by Leah Kardos Dr Leah Kardos is an experienced musicologist She was lucky in many ways: privileged with aspect of her music product. Across her first three style, since it was seen to represent cultural elitism and senior lecturer in music at Kingston early access to musical tuition, familial support and albums, The Kick Inside, Lionheart (both 1978) in an era of widespread economic hardship and University. plenty of encouragement. Crucially, she had well- and Never for Ever (1980), and including her first social unrest. American pop in the late Seventies respected men in the music business advocating for major touring production (the Tour of Life, 1979), was on a different planet altogether, concerning ‘Wuthering Heights’ – a profoundly unlikely hit, her during the early stages of her development. Her we can track Kate’s evolution from a label-groomed itself with notions of authenticity and cultivating sitting as it did in the 1978 landscape of post-punk family helped her to produce a demo tape of original pop-star project towards her emergence as a fully a disciplined, precise production aesthetic. (Think and dance-floor fodder such as Boney M – signalled compositions, which was brought to the attention formed self-producing artist. The stylistic journey of the polished sonic surfaces of Fleetwood Mac, the arrival of an unlikely pop star. Kate Bush had an of Pink Floyd guitarist David Gilmour thanks to ran from relatively unadorned piano-led art-rock the Eagles, the Doobie Brothers, Chic.) Kate didn’t unusually high and wide-ranging voice, a curious family friends with connections to the band. -
For a Lark the Poetry of Songs
UNIVERSIDADE DE LISBOA FACULDADE DE LETRAS PROGRAMA EM TEORIA DA LITERATURA FOR A LARK THE POETRY OF SONGS Telmo Rodrigues DOUTORAMENTO EM ESTUDOS DE LITERATURA E DE CULTURA TEORIA DA LITERATURA 2014 Universidade de Lisboa Faculdade de Letras Programa em Teoria da Literatura FOR A LARK THE POETRY OF SONGS Telmo Rodrigues Dissertação orientada por: PROFESSOR DOUTOR ANTÓNIO M. FEIJÓ PROFESSOR DOUTOR MIGUEL TAMEN Doutoramento em Estudos de Literatura e de Cultura Teoria da Literatura 2014 Acknowledgments The work for this thesis was done under a fellowship granted by the Foundation for Science and Technology (FCT): the time granted to think is priceless, and I am indeed thankful for being allowed to benefit from it. During this period I have also benefited from the resources put at my disposal by my host institution, the Nova Institute of Philosophy (IFILNOVA). Professor António Feijó has been teaching me since my first year of undergraduate studies and Professor Miguel Tamen since I started graduate studies: I am still to this day amazed at the luck I have for being given the opportunity to work with both of them, and my gratitude for their efforts and enthusiasm in crafting this thesis is immeasurable. As a student of the Program in Literary Theory I must extend my thanks to Professor João Figueiredo, who is an integral part of the Program and with whom I have learnt many valuable things about art. When writing a thesis, a friend who enjoys editing is a blessing one must always be thankful for; in any case, I would gladly dismiss Helena’s editing skills for the friendship which has shaped this work beyond recognition and, necessarily, beyond any written acknowledgment. -
Classical Thesis Draft
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE SCHOOL OF MUSIC SOUNDSCLASSICAL.COM: INTRODUCING CLASSICAL MUSIC THROUGH COMPARISON WITH MODERN MUSIC EDWARD SUNDRA SPRING 2014 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Music with honors in Music Reviewed and approved* by the following: Mark Ballora Associate Professor, Music Technology Thesis Supervisor, Honors Adviser Charles Youmans Professor of Musicology Faculty Reader * Signatures are on file in the Schreyer Honors College. i ABSTRACT This thesis serves as a steppingstone for a larger project which aims to build a website introducing classical music to a broad audience in new and innovative ways. Soundsclassical.com is distinct from other introductory websites in that it attempts to bridge the gap between the classical and modern music worlds more effectively than many other introductory classical websites do. In this thesis, there are two sections: 1) reviews of other classical music websites and ways they are less effective than they could be, and 2) a series of articles that demonstrate some of the content that will eventually be on Soundclassical.com. These medium-length articles compare certain modern genres and/or artists to classical equivalents, in order to create stronger emotional and contextual ties between seemingly unrelated composers and their work. ii TABLE OF CONTENTS List of Figures ...........................................................................................................................iii -
Georgeson, Noah
NOAH GEORGESON SELECTED PRODUCER, ENGINEER, MIXER, SONGWRITER & MUSICIAN CREDITS: Devendra Banhart Forthcoming Album (Nonesuch) P E M Cate Lebon Forthcoming Album co-P M The Royal Parks Forthcoming Album P E M Andy Shauf The Party (Anti-) M Brodka Forthcoming Album (Kayax) P E M The Migrant Forthcoming Album M Lena Fayre Is There Only One? (Semper Augustus) P E M Flo Morrissey Tomorrow Will Be Beautiful (Glassnote) P E M Natalia Lafourcade Mujer Divina - Homenaje A Agustín Lara (Sony Music) co-P E Lou Rhodes theyesandeye M Adam and Binki Adam Green & Binki Shapiro (Rounder) P E M The Treetop Flyers The Mountain Moves (Partisan) P E M My Bubba Goes Abroader (Fake Diamond) P E M Mu Cate LeBon Mug Museum (Wichita) co-P E M Mu Rodrigo Amarante Cavalo (Easy Sound) P E M Mu Devendra Banhart Mala (Nonesuch) P E M co-W Mu Harper Simon Division Street (PIAS) M POP ETC "Keep It For Your Own" from POP ETC (Rough Trade) M Balthazar Rats (PIAS) M Chase Cohl Coyote Nights P E M Mu Ben Lee Deeper Into Dream (Dangerbird) M The Strokes Angles (RCA) M Adanowsky Amador (EMI) M The Dead Trees Whatwave (Milan) P E M Devendra Banhart What Will We Be (Warner Bros) co-W Mu Joanna Newsom Have One On Me (Drag City) E M Husky Forever So (Liberation/Sub Pop) M Tamara Full Moon Doll (EMI France) P E M Mu Adam Green Minor Love (Rough Trade) P E M Mu Little Joy Little Joy (Rough Trade) co-P M Mu Arr Devendra Banhart Smokey Rolls Down Thunder Canyon (XL) co-P E M W Mu Arr Vetiver To Find Me Gone (DiChristina) Mu Arr Noah Georgeson Find Shelter (Plain Recordings) P E