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Traditional Song
3 TraditionalSong l3-9 Traditional Song Week realizes a dream of a comprehensive program completely devoted to traditional styles of singing. Unlike programs where singing takes a back seat to the instrumentalists, it is the entire focus of this week, which aims to help restore the power of songs within the larger traditional music scene. Here, finally, is a place where you can develop and grow in confidence about your singing, and have lots of fun with other folks devoted to their own song journeys. Come gather with us to explore various traditional song genres under the guidance of experienced, top-notch instructors. When singers gather together, magical moments are bound to happen! For Traditional Song Week’s ninth year and our celebration of The Swannanoa Gathering’s 25th Anniversary, we are proud to present a gathering of highly influential singers and musicians who have remained devoted over the years to preserving and promoting traditional song. Tuesday evening will be our big Hoedown for a Traditional Country, Honk-Tonk, Western Swing Song and Dance Night. Imagine singing to a house band of Josh Goforth, Robin and Linda Williams and Ranger Doug or Tim May, Tim O’Brien, and Mark Weems! So, bring your boots and hats, your voices and instruments, and get ready to bring on the fun! Our Community Gathering Time each day just after lunch affords us the opportunity to experience together, as one group, diverse topics concerning our shared love of traditional song. This year’s spotlight will feature folks who have been “on the road” and singing for quite a while. -
BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected]
BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] ARTIST Ferlin Husky TITLE Gonna Shake This Shack Tonight with guests Simon Crum & Terry Preston LABEL Bear Family Productions CATALOG # BCD 17415 PRICE-CODE AH EAN-CODE ÇxDTRBAMy174155z FORMAT 1 CD digipac with 72-page booklet GENRE Country / Rockabilly TRACKS 32 PLAYING TIME 86:04 G From his years in Los Angeles in the 1950s recording as Terry Preston, to his time as an early pioneer of the Bakersfield Sound, to his extensive tours with Elvis Presley, to his alliance with Alan Freed, to his outrageous recordings as comic alter-ego Simon Crum, Ferlin's talent for rockin' and boppin' is on full display. G Explore a very different side of the smooth-voiced crooner whose 1957 recording of Gone helped usher in the pop-influenced Nashville Sound. G Packed with 32 tracks, including six charting hits, two previously unissued recordings, and rarities released on CD for the first time. G Beautifully illustrated booklet packed with many rare and never-seen photos. G Extensive liner notes by Scott B. Bomar, featuring in-depth biographical information and insights culled from unpublished interviews with Ferlin, Jim Ed Brown, Dallas Frazier, Jan Howard, Ken Nelson, Jean Shepard, Leona Williams, and many others! INFORMATION Ferland Huskey was born in southeastern Missouri, and went on to be known by many names during his career: Ferlin Huskey, Tex Terry, Terry Preston, Ferlin Husky (without the 'e'), and Simon Crum, a comic alter-ego whom Ferlin demanded be treated as a separate person. -
16 Artist Index BILLJ~OYD (Cont'd) Artist Index 17 MILTON BROWN
16 Artist Index Artist Index 17 BILLJ~OYD (cont'd) MILTON BROWN (cont'd) Bb 33-0501-B 071185-1 Jennie Lou (Bill Boyd-J.C. Case)-1 82800-1 071186-1 Tumble Weed Trail (featured in PRC film "Tumble Do The Hula Lou (Dan Parker)-1 Bb B-5485-A, Weed Trail") (Bill Boyd-Dick Reynolds)-1 Bb B-9014-A MW M-4539-A, 071187-1 Put Your Troubles Down The Hatch (Bill Boyd• 82801-1 M-4756-A Marvin Montgomery) -3 Bb 33-0501-A Garbage Man Blues (Dan Parker) -1,3 Bb B-5558-B, 071188-1 Home Coming Waltz Bb B-890Q-A, 82802-1 MWM-4759-A RCA 2Q-2069-A Four, Five Or Six Times (Dan Parker) -1,3* Bb B-5485-B, 071189-1 Over The Waves Waltz (J. Rosas) Bb B-8900-B, MW M-4539-B, RCA 2Q-2068-B M-4756-B Reverse of RCA 2Q-2069 is post-war Bill Boyd title. First pressings of Bb B-5444 were issued as by The Fort Worth Boys with "Milton Brown & his Musical Brownies" in parentheses. On this issue, co-writer for "Oh You Pretty Woman" is listed as Joe Davis. 1937 issues of 82801 ("staff' Bluebird design) list title as "Garage Man Blues." JIM BOYD & AUDREY DAVIS (The Kansas Hill Billies) September 30, 1934; Fort Worth, Texas August 8, 1934; Texas Hotel, San Antonio, Texas. Jim Boyd, guitarllead vocal; Audrey Davis, fiddle/harmony vocal. Milton Brown, vocal-1; Cecil Brower, fiddle; Derwood Brown, guitar/vocal-2; Fred "Papa" Calhoun, piano; Wanna Coffman, bass; Ted Grantham, fiddle; Ocie Stockard, tenor banjo; Band backing vocal -3. -
(Pdf) Download
Artist Song 2 Unlimited Maximum Overdrive 2 Unlimited Twilight Zone 2Pac All Eyez On Me 3 Doors Down When I'm Gone 3 Doors Down Away From The Sun 3 Doors Down Let Me Go 3 Doors Down Behind Those Eyes 3 Doors Down Here By Me 3 Doors Down Live For Today 3 Doors Down Citizen Soldier 3 Doors Down Train 3 Doors Down Let Me Be Myself 3 Doors Down Here Without You 3 Doors Down Be Like That 3 Doors Down The Road I'm On 3 Doors Down It's Not My Time (I Won't Go) 3 Doors Down Featuring Bob Seger Landing In London 38 Special If I'd Been The One 4him The Basics Of Life 98 Degrees Because Of You 98 Degrees This Gift 98 Degrees I Do (Cherish You) 98 Degrees Feat. Stevie Wonder True To Your Heart A Flock Of Seagulls The More You Live The More You Love A Flock Of Seagulls Wishing (If I Had A Photograph Of You) A Flock Of Seagulls I Ran (So Far Away) A Great Big World Say Something A Great Big World ft Chritina Aguilara Say Something A Great Big World ftg. Christina Aguilera Say Something A Taste Of Honey Boogie Oogie Oogie A.R. Rahman And The Pussycat Dolls Jai Ho Aaliyah Age Ain't Nothing But A Number Aaliyah I Can Be Aaliyah I Refuse Aaliyah Never No More Aaliyah Read Between The Lines Aaliyah What If Aaron Carter Oh Aaron Aaron Carter Aaron's Party (Come And Get It) Aaron Carter How I Beat Shaq Aaron Lines Love Changes Everything Aaron Neville Don't Take Away My Heaven Aaron Neville Everybody Plays The Fool Aaron Tippin Her Aaron Watson Outta Style ABC All Of My Heart ABC Poison Arrow Ad Libs The Boy From New York City Afroman Because I Got High Air -
Whiskey River (Take My Mind) I
whiskey river (take my mind) i introduction 00 Bush rev pg proofs 000i-xxiv i i 12/11/06 9:58:38 AM THIS PAGE INTENTIONALLY LEFT BLANK whiskey river (take my mind) iii The True Story of Texas Honky-Tonk by johnny bush with rick mitchell foreword by willie nelson University of Texas Press, Austin introduction 00 Bush rev pg proofs 000i-xxiv iii iii 12/11/06 9:58:39 AM iv copyright © 2007 by the university of texas press All rights reserved Printed in the United States of America First edition, 2007 Requests for permission to reproduce material from this work should be sent to: Permissions University of Texas Press P.O. Box 7819 Austin, TX 78713-7819 www.utexas.edu/utpress/about/bpermission.html ∞ The paper used in this book meets the minimum requirements of ansi/niso z39.48-1992 (r1997) (Permanence of Paper). library of congress cataloging-in-publication data Bush, Johnny. Whiskey river (take my mind) : the true story of Texas honky-tonk / by Johnny Bush with Rick Mitchell ; foreword by Willie Nelson. — 1st ed. p. cm. Includes discography (p. ), bibliographical references (p. ), and index. isbn-13: 978-0-292-71490-8 (cl. : alk. paper) isbn-10: 0-292-71490-4 1. Bush, Johnny. 2. Country musicians—Texas—Biography. 3. Spasmodic dysphonia—Patients—Texas—Biography. 4. Honky-tonk music—Texas— History and criticism. I. Mitchell, Rick, 1952– II. Title. ml420.b8967a3 2007 782.421642092—dc22 [B] 2006033039 whiskey river (take my mind) 00 Bush rev pg proofs 000i-xxiv iv iv 12/11/06 9:58:39 AM Dedicated to v John Bush Shinn, Jr., my dad, who encouraged me to follow my dreams. -
Felice Bryant and Country Music Songwriting in the 1950S
Bridgewater Review Volume 39 Issue 1 Article 4 4-2020 Felice Bryant and Country Music Songwriting in the 1950s Paula Bishop Bridgewater State University Follow this and additional works at: https://vc.bridgew.edu/br_rev Part of the Composition Commons Recommended Citation Bishop, Paula (2020). Felice Bryant and Country Music Songwriting in the 1950s. Bridgewater Review, 39(1), 4-7. Available at: https://vc.bridgew.edu/br_rev/vol39/iss1/4 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Felice Bryant and Country Music Songwriting in the 1950s Paula Bishop f you were a country music artist working in Nashville in the 1950s, you might have found Iyourself at the home of Nashville songwriters, Felice and Boudleaux Bryant, enjoying one of Felice’s home-cooked meals. Boudleaux would present songs that he and Felice had written while Felice offered suggestions and corrections from the kitchen. On the surface this domestic scene suggests conventional gender roles in which the husband handles business Nashville image (Photo Credit: NiKreative / while the wife entertains the guests, but in fact, the Alamy Stock Photo) Bryants had learned to capitalize on Felice’s culinary the country music industry of the 1950s skills and outgoing personality in order to build their and build a successful career, becom- professional songwriting career. As she once quipped, ing what Mary Bufwack and Robert Oermann called the “woman who if they fed the artists a “belly full of spaghetti and ears ignited the explosion of women writers full of songs,” they were more likely to choose a song on music Row.” written by the Bryants. -
FOREWORD by Tom Miller
Dave Stogner Only A Memory Away - The Dave and Vi Stogner Story (A history of his music and their romance) FOREWORD By Tom Miller It could have been disconcerting for the young fiddle player on the stage. Early evening in an empty honky-tonk, it's still light out. It's the beginning of the 1980's and we are in the middle of the Urban Cowboy scare. “Hat Acts” were all the rage at that time, too. Resistol rock and roll babies are playing Country music to thin air. The front door is open--there is no way to stop the momentum of Dave Stogner's entrance. The erect sixty-something cowboy with the square jaw marches directly to the middle of the sunken dance floor at O.T. Price's Music Hall and kneels, elbow on higher knee, hand on chin, eyes fixed on young fiddle player. Rodin's ”Thinker,” Stogner's “Fiddle Contemplator.” No sense being rattled. The fiddler played right to the chiseled Western Swing bandleader. If there is a big linebacker you might as well run right at him, if you can't get around him. Stogner was not moving. My attention turned to making sure we had enough Jack Daniels and beer stocked for the night--bartending was my intro to the concert coordinating business. A few minutes later Dave walked directly toward me at the bar, wearing a Texas sized grin spanning Waco to Juarez. The fiddle player that night would do just fine. I was in my late twenties and loved all kinds of music, except most produced pop stuff. -
Slapping Leather
SLAPPING LEATHER Choreographed by Gayle Brandon Description: 36 count, 4 wall, beginner line dance Music: Tulsa Time by Don Williams [104 bpm / The Very Best Of / Line Dance Hits From The Jukebox Vol. 2 ] Backroads by Ricky Van Shelton [172 bpm / Backroads] Six Days On The Road by Sawyer Brown [166 bpm / CD: Line Dance Fever 3 / CD: Line Dance Fever 8] Footloose by Kenny Loggins or Blake Shelton T-R-O-U-B-L-E by Travis Tritt Notes at the end were added to cover variations that have crept in since it was choreographed in 1978 ** This version reflects how the dance is done in the Chicagoland area ** SIDE STEPS 1-2 Touch right to side, step right together 3-4 Touch left to side, step left together 5-8 Repeat 1-4 FLOOR TAPS 9-10 Touch right heel forward, touch right heel forward 11-12 Touch right toe back, touch right toe back SLAPPING LEATHER 13-14 Touch right forward, touch right to side 15-16 Flick right back (slap right foot behind you with left hand), touch right to side 17-18 Turn ¼ left and hook right over left (slap right foot in front of you with left hand), flick right back (slap right foot behind you with left hand) GRAPEVINE RIGHT & LEFT 19-20 Step right to side, cross left behind right 21-22 Step right to side, hop right to side (lift left heel up beside your right knee) 23-24 Step left to side, cross right behind left 25-26 Step left to side, hop left to side (lift right heel up beside your left knee) 3 STEPS BACK, HITCH, FORWARD, STOMP, STOMP 27-28 Step right back, step left back 29-30 Step right back, hop right back (lift left heel to your right knee) 31-32 Stomp left forward, stomp right together PIGEON TOE (HEEL SPLITS) 33-34 Swivel heels together, swivel heels to center 35-36 Swivel toe together, swivel toe to center REPEAT OTHER VARIATIONS: In fact, this dance has seen more local variations than probably any other dance. -
To Code at Home? Orget the Year
TO CODE AT HOME? orget the year. Voltair processor-induced questions about PPM encod- ing may be the biggest radio story of the last decade. Moving from di- Fary ratings to meter technology in 2007 was intended to remove much of the ambiguity from radio’s audience report card – at least in the top 50 markets. Programmers were confident in the technology and quickly adopted its les- sons, one of the most dramatic being listen- THE YEar’s ers’ aversion to talk. Spoken word formats saw declines and music format morning shows began upping their song count. And then Voltair came along. Introduced in mid-2014 by Telos, the TOP $15,000 processor was aimed at a previously unknown gap in PPM’s audio watermark- StORIES ing encoding. In short, its developers claimed that programming that was quiet, marked by silence or weak in a certain frequency range did a poor job of carrying PPM code – and that their box “enhanced the detectability.” Better encod- ing, the thinking went, meant better ratings. Radio’s response was swift. By summer 2015, hundreds of the units were in use. Even PDs who didn’t have Voltair were taking notice. “You see meter counts jump and think it’s a fluky week, but the next week it goes even higher,” one programmer told Country Aircheck. “When 6+ numbers jump two shares, that’s your first clue.” With many convinced Voltair was doing exactly what it proposed, questions turned to years of decision making based not on programming content, but its audio characteristics. “Where it gets [hairy] is when we decide not to do artist interviews and stay away from any longer talk seg- ment regardless of how compelling,” consultant Becky Brenner said in July. -
Around the Bush Music Scene
AROUND THE BUSH MUSIC SCENE Mar 1 7pm Addison Rd Singing Session Mar 2 7:30pm Beecroft Bush Dance, Sydney Coves Mar 3 7pm Songlines Song Session Mar 5 7:30pm Playford Dancing at the Hut Mar 8 7:30pm Duke’s Place Mar 8 7:30pm Toongabbie Music Club Mar 9 2pm Poetry at the Hut Mar 9 7:30pm Gosford Bush Dance, Social dance. Caller: Bill Propert Mar 14 7:30pm Sutherland Acoustic Night Mar 15 8pm Hornsby Folk Club Mar 16 3pm Sydney English Country Dance Mar 17 2pm Keith’s Dance Workshop, Keith’s Dances Mar 22 7:30pm Toongabbie Music Club Mar 23 7:30pm Loaded Dog Folk Club, MaD aDaM & Seamus Gill Mar 23 7pm Troubadour Folk Club, Bob Fox (UK) Apr 2 7:30pm Playford Dancing at the Hut Apr 5 7pm Addison Rd Singing Session Apr 6 7:30pm Beecroft Bush Dance, Southern Cross Apr 7 7pm Songlines Song Session Apr 12 7:30pm Duke’s Place Apr 12 7:30pm Toongabbie Music Club Apr 13 2pm Poetry at the Hut Apr 13 7:30pm Gosford Bush Dance, JH Dance Band Apr 13 7:30pm Loaded Dog Folk Club, Doug Jenner (UK) Apr 13 7pm Troubadour Folk Club Apr 14 7:30pm Sutherland Acoustic Night Apr 18-22 National Folk Festival Apr 19 8pm Hornsby Folk Club Apr 20 3pm Sydney English Country Dance Apr 21 2pm Keith’s Dance Workshop, Contra - Becky Hill Apr 25-28 St Albans Folk Festival Apr 26 7:30pm Toongabbie Music Club May 3 7pm Addison Rd Singing Session May 4 7:30pm Beecroft Bush Dance, Rosella Bush Band May 5 7pm Songlines Song Session May 7 7:30pm Playford Dancing at the Hut May 9 7:30pm Sutherland Acoustic Night May 10 7:30pm Duke’s Place May 10 7:30pm Toongabbie Music Club May 11 2pm Poetry at the Hut May 11 7:30pm Gosford Bush Dance, Jane Austen theme, Short Dented Potts May 17 8pm Hornsby Folk Club May 18 7:30pm Loaded Dog Folk Club, Garland Fine May 18 3pm Sydney English Country Dance May 19 2pm Keith’s Dance Workshop, English Country May 24 7:30pm Toongabbie Music Club May 25 7pm Goulburn Railway Ball (2019 Heritage Ball) May 25 7pm Troubadour Folk Club, Mimosa Duo No. -
Women's Hit Cheating Songs: Country Music and Feminist Change in American Society, 1962-2015 Madeline Rachel Morrow University of Denver
University of Denver Digital Commons @ DU Electronic Theses and Dissertations Graduate Studies 1-1-2017 Women's Hit Cheating Songs: Country Music and Feminist Change in American Society, 1962-2015 Madeline Rachel Morrow University of Denver Follow this and additional works at: https://digitalcommons.du.edu/etd Part of the Feminist, Gender, and Sexuality Studies Commons, Music Commons, and the Women's History Commons Recommended Citation Morrow, Madeline Rachel, "Women's Hit Cheating Songs: Country Music and Feminist Change in American Society, 1962-2015" (2017). Electronic Theses and Dissertations. 1258. https://digitalcommons.du.edu/etd/1258 This Thesis is brought to you for free and open access by the Graduate Studies at Digital Commons @ DU. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. WOMEN’S HIT CHEATING SONGS: COUNTRY MUSIC AND FEMINIST CHANGE IN AMERICAN SOCIETY, 1962-2015 __________ A Thesis Presented to the Faculty of Arts and Humanities University of Denver __________ In Partial Fulfillment of the requirements for the Degree Master of Arts __________ by Madeline Rachel Morrow June 2017 Advisor: John J. Sheinbaum ©Copyright by Madeline Rachel Morrow 2017 All Rights Reserved Author: Madeline Rachel Morrow Title: WOMEN’S HIT CHEATING SONGS: COUNTRY MUSIC AND FEMINIST CHANGE IN AMERICAN SOCIETY, 1962-2015 Advisor: John J. Sheinbaum Degree Date: June 2017 ABSTRACT This thesis examines songs about cheating performed by women in country music that appeared on year-end country songs charts in Billboard magazine from 1962 through 2015. -
2020 Winter BMAM Newsletter
Bluegrass Music Association of Maine Winter 2020 75TH ANNIVERSARY OF BLUEGRASS BOOKS ABOUT BLUEGRASS MUSIC by Stan Keach I can think of three reasons why writing a short article covering books about bluegrass music might be a good idea for the winter newsletter: 1. There’s just not much current “news” about bluegrass music — not here in Maine, and not anywhere. Bands are mostly pretty inactive; there are no jams. 2. Some people have more time to read than usual, because there are no live concerts right now, no festivals, no jams. And, though I think a lot of bluegrass fans don’t realize this, there are many excellent books available about our fa- vorite subject. 3. If we can get this edition of The Bluegrass Express out early enough, it may spur a few Bill Monroe and Earl Scruggs on the Grand Ole Opry, Dec. 8, 1945 people to buy a book or 2 for their favorite blue- grass music fans for a holiday gift. Seventy-five years ago, on December 8th, 1945, Bill Monroe and the So . here are seven of my favorite books Bluegrass Boys appeared on the Grand Ole Opry with a new line-up that related to bluegrass music. Most of these books, included 21-year-old Earl Scruggs playing a style of syncopated 3-finger though not brand new, are readily available from picking on the banjo that had never been heard before, and it absolutely booksellers of all kinds. And even if your local electrified the audience. Scruggs’ fiery banjo picking, Monroe’s frantic library doesn’t have one of these books, it can mandolin picking, and Chubby Wise’s bluesy fiddling, all done at a blis- likely get it through interlibrary loan; ask your tering pace; the bass thumping on the down beat, Monroe’s chop on the off librarian about that.