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Blues Underground Network (Featuring David Gogo "Christmas
Blues Underground Network David Gogo "Christmas With The Blues" (Canada) I will be the first to admit that I really like the good old fashioned Christmas songs, White Christmas, Twelve Days Of Christmas, Chestnuts Roasting on an Open Fire, and countless others, sung by the greats Bing Crosby, Nat King Cole, Gene Autry, Perry Como, and Jose Feliciano, to name just a few. I also really like the modern day artists that have stepped forward, putting a little polish on the old standards or offering up their own originals, such as David Gogo's absolutely amazing new release, "Christmas With The Blues", which offers up 9 blues inspired Tracks of both standards and originals. Now David Gogo would certainly not have been my first thought as someone whom would of put out a Christmas Album, in fact he never thought he would either, never the less, he has and boy it quickly has become a favorite around here this Christmas Season and will for many more to come. Using his superb Vocals and amazing stinging Guitar work, David Gogo slices through 9 Tracks as effortlessly as a hot knife slicing through butter, but it isn't just Gogo that brings the magic to this little gem, it is also the stellar lineup of artists he brought along with him on this journey, which included greats Bill Hicks (Drums), Marisha Devoin (Acoustic Stand-Up Bass), David Vest (Piano), Phil Dwyer (Saxophones and Piano on Track 5), Jay Stevens (Bass on Track 9), Tina Jones & Camille Miller (Vocals Track 9), and Shawn Hall (Harmonica). -
2021-08-16 0:01:37 4:28 Dustin Arbuckle & the Damnations
2021-09-27 0:00:11 3:40 Louise Cappi It Is What It Is New Arrivals 2021-09-27 0:03:51 3:32 Guster It Is Just What It Is Alternative 21 2021-09-27 0:07:22 3:16 Atomic Road Kings My Way Back Home Blues 34 2021-09-27 0:10:38 3:37 Patty Loveless To Feel That Way At All Country 22 2021-09-27 0:14:15 3:46 Blazers Innocent Dreams All Music CDN 22 2021-09-27 0:18:09 4:04 Chumbawamba Creepy Crawling Dance 21 2021-09-27 0:22:13 3:49 Chicken-Like Birds Riding Our Bikes Jazz CDN 34 2021-09-27 0:26:02 5:00 Elliott Brood Fingers and Tongues Punk 21 2021-09-27 0:31:11 4:48 Bakshish Jak Lzy Dub Reggae 21 2021-09-27 0:35:59 4:05 b.d. Gottfried Incantation Rock CDN 21 2021-09-27 0:40:05 4:42 Andy Palacio & The Garifuna Collective Lidan Aban (Together) World 2021-09-27 0:44:47 4:35 Blu Hopkins Impossible Traditional CDN 32 2021-09-27 0:49:27 4:35 Hoven Droven Jämtlandssångsvalsen Folk 32 2021-09-27 0:54:02 4:14 James Last Orchestra Empty Glasses Easy Listening 24 2021-09-27 0:58:15 2:14 The Crows Gee All Music 21 2021-09-27 1:00:11 3:53 Cris Cuddy One and Only New Arrivals CDN 22 2021-09-27 1:04:04 3:41 Boy Hit My Heart Alternative 21 2021-09-27 1:07:45 7:35 Guitar Jack Wargo Power Of Love Blues 34 2021-09-27 1:15:26 3:49 Koreen Perry Lucky Country CDN 22 2021-09-27 1:19:15 3:33 Chris Stevens Wonder How the Old Folks are at home All Music CDN 32 2021-09-27 1:22:47 5:17 Tracie Spencer Wanna Be Dance 21 2021-09-27 1:28:05 4:40 Conor Gains Back To You Jazz CDN 21 2021-09-27 1:32:50 2:46 The Pogues The Broad Majestic Shannon Punk 2021-09-27 1:35:36 4:09 Sergent -
Austinmusicawards2017.Pdf
Jo Carol Pierce, 1993 Paul Ray, Stevie Ray Vaughan, and PHOTOS BY MARTHA GRENON MARTHA BY PHOTOS Joe Ely, 1990 Daniel Johnston, Living in a Dream 1990 35 YEARS OF THE AUSTIN MUSIC AWARDS BY DOUG FREEMAN n retrospect, confrontation seemed almost a genre taking up the gauntlet after Nelson’s clashing,” admits Moser with a mixture of The Big Boys broil through trademark inevitable. Everyone saw it coming, but no outlaw country of the Seventies. Then Stevie pride and regret at the booking and subse- confrontational catharsis, Biscuit spitting one recalls exactly what set it off. Ray Vaughan called just prior to the date to quent melee. “What I remember of the night is beer onto the crowd during “Movies” and rip- I Blame the Big Boys, whose scathing punk ask if his band could play a surprise set. The that tensions started brewing from the outset ping open a bag of trash to sling around for a classed-up Austin Music Awards show booking, like the entire evening, transpired so between the staff of the Opera House, which the stage as the mosh pit gains momentum audience visited the genre’s desired effect on casually that Moser had almost forgotten until was largely made up of older hippies of a Willie during “TV.” the era. Blame the security at the Austin Stevie Ray and Jimmie Vaughan walked in Nelson persuasion who didn’t take very kindly About 10 minutes in, as the quartet sears into Opera House, bikers and ex-Navy SEALs from with Double Trouble and to the Big Boys, and the Big “Complete Control,” security charges from the Willie Nelson’s road crew, who typical of the proceeded to unleash a dev- ANY HISTORY OF Boys themselves, who were stage wings at the first stage divers. -
John Zorn Artax David Cross Gourds + More J Discorder
John zorn artax david cross gourds + more J DiSCORDER Arrax by Natalie Vermeer p. 13 David Cross by Chris Eng p. 14 Gourds by Val Cormier p.l 5 John Zorn by Nou Dadoun p. 16 Hip Hop Migration by Shawn Condon p. 19 Parallela Tuesdays by Steve DiPo p.20 Colin the Mole by Tobias V p.21 Music Sucks p& Over My Shoulder p.7 Riff Raff p.8 RadioFree Press p.9 Road Worn and Weary p.9 Bucking Fullshit p.10 Panarticon p.10 Under Review p^2 Real Live Action p24 Charts pJ27 On the Dial p.28 Kickaround p.29 Datebook p!30 Yeah, it's pink. Pink and blue.You got a problem with that? Andrea Nunes made it and she drew it all pretty, so if you have a problem with that then you just come on over and we'll show you some more of her artwork until you agree that it kicks ass, sucka. © "DiSCORDER" 2002 by the Student Radio Society of the Un versify of British Columbia. All rights reserved. Circulation 17,500. Subscriptions, payable in advance to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN ilsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money ordei payable to DiSCORDER Magazine, DEADLINES: Copy deadline for the December issue is Noven ber 13th. Ad space is available until November 27th and can be booked by calling Steve at 604.822 3017 ext. 3. Our rates are available upon request. -
Samantha Fish Homemade Jamz Jarekus Singleton
Buddy GDamnUYRight... JONNYLANG Q&A SAMANTHA FISH HOMEMADE JAMZ JAREKUS SINGLETON JOHNNY WINTER MICHAEL BLOOMFIELD Reissues Reviewed NUMBER THREE www.bluesmusicmagazine.com US $5.99 Canada $7.99 UK £4.60 Australia A$15.95 COVER PHOTOGRAPHY © JOSH CHEUSE courtesy of RCA RECORDS NUMBER THREE 4 BUDDY GUY Best In Town by Robert Feuer 3 RIFFS & GROOVES From The Editor-In-Chief 8 TOM HAMBRIDGE Producing Buddy Guy 20 DELTA JOURNEYS “Catching Up” by Art Tipaldi 22 AROUND THE WORLD 10 SAMANTHA FISH “Blues Inspiration, Now And Tomorrow” Kansas City Bomber 24 Q&A with Jonny Lang by Vincent Abbate 26 BLUES ALIVE! 13 THE HOMEMADE JAMZ Lonnie Brooks 80th Birthday Bash BLUES BAND Harpin’ For Kid Ramos Benefit It’s A Family Affair 28 REVIEWS by Michael Cala New Releases Box Sets 17 JAREKUS SINGLETON Film Files Trading Hoops For The Blues 62 DOWN THE ROAD by Art Tipaldi 63 SAMPLER 3 64 IN THE NEWS TONY KUTTER © PHOTOGRAPHY PHOTOGRAPHY PHONE TOLL-FREE 866-702-7778 E-MAIL [email protected] WEB bluesmusicmagazine.com PUBLISHER: MojoWax Media, Inc. PRESIDENT: Jack Sullivan “As the sun goes down and the shadows fall, EDITOR-IN-CHIEF: Art Tipaldi on theWestside of Chicago, the blues has come to call.” CUSTOMER SERVICE: Kyle Morris GRAPHIC DESIGN: Andrew Miller Though the temperatures in Memphis during January’s 30th International Blues Challenge were in the 20s with wind chills cutting to below zero, the music on Beale CONTRIBUTING EDITORS David Barrett / Michael Cote / ?omas J. Cullen III Street was hotter then ever. Over 250 bands, solo/duo, and youth acts participated Bill Dahl / Hal Horowitz / Tom Hyslop in this exciting weeklong showcase of the blues in 20 Beale Street clubs. -
The Daily Gamecock, TUESDAY, JANUARY 20, 2009
University of South Carolina Scholar Commons January 2009 1-20-2009 The aiD ly Gamecock, TUESDAY, JANUARY 20, 2009 University of South Carolina, Office oftude S nt Media Follow this and additional works at: https://scholarcommons.sc.edu/gamecock_2009_jan Recommended Citation University of South Carolina, Office of Student Media, "The aiD ly Gamecock, TUESDAY, JANUARY 20, 2009" (2009). January. 10. https://scholarcommons.sc.edu/gamecock_2009_jan/10 This Newspaper is brought to you by the 2009 at Scholar Commons. It has been accepted for inclusion in January by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. IInaugurationnauguration DDayay dailygamecock.com UNIVERSITY OF SOUTH CAROLINA TUESDAY, JANUARY 20, 2009 VOL. 102, NO. 78 ● SINCE 1908 Weather TODAY HIGH 36° TONIGHT LOW 24° TOMORROW HIGH 45° Inside SPORTS Keri Goff / THE DAILY GAMECOCK President-elect Barack Obama and his wife Michelle wave to the crowd in front of the Lincoln Memorial before his speech Sunday at the kickoff concert. Millions gather for inauguration Performers, speeches draw morning. “three simple words: We Are One.” same steps that Dr. Martin Luther “Being from Texas, we wanted A star-studded cast of performers King, Jr. made his famous speech crowds to Washington, D.C. to be somewhere that the people and speakers, including Bruce more than 40 years ago, took an for historic occasion around us shared the excitement Springsteen , U2, Tiger Woods and optimistic look towards the future. The men’s basketball we had,” she said. “This is once in a Morgan Freeman, took turns on “As I stand here tonight, what lifetime.” stage. -
I S C O R D E R Free
I S C O R D E R FREE IUTE K OGWAI ARHEAD NC HR IS1 © "DiSCORDER" 2001 by the Student Radio Society of the University of British Columbia. All rights reserved. Circuldtion 1 7,500. Subscriptions, payable in advance, to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN elsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money orders payable to DiSCORDER Mag azine. DEADLINES: Copy deadline for the August issue is July 14th. Ad space is available until July 21st and ccn be booked by calling Maren at 604.822.3017 ext. 3. Our rates are available upon request. DiS CORDER is not responsible for loss, damage, or any other injury to unsolicited mcnuscripts, unsolicit ed drtwork (including but not limited to drawings, photographs and transparencies), or any other unsolicited material. Material can be submitted on disc or in type. As always, English is preferred. Send e-mail to DSCORDER at [email protected]. From UBC to Langley and Squamish to Bellingham, CiTR can be heard at 101.9 fM as well as through all major cable systems in the Lower Mainland, except Shaw in White Rock. Call the CiTR DJ line at 822.2487, our office at 822.301 7 ext. 0, or our news and sports lines at 822.3017 ext. 2. Fax us at 822.9364, e-mail us at: [email protected], visit our web site at http://www.ams.ubc.ca/media/citr or just pick up a goddamn pen and write #233-6138 SUB Blvd., Vancouver, BC. -
Steve Waksman [email protected]
Journal of the International Association for the Study of Popular Music doi:10.5429/2079-3871(2010)v1i1.9en Live Recollections: Uses of the Past in U.S. Concert Life Steve Waksman [email protected] Smith College Abstract As an institution, the concert has long been one of the central mechanisms through which a sense of musical history is constructed and conveyed to a contemporary listening audience. Examining concert programs and critical reviews, this paper will briefly survey U.S. concert life at three distinct moments: in the 1840s, when a conflict arose between virtuoso performance and an emerging classical canon; in the 1910s through 1930s, when early jazz concerts referenced the past to highlight the music’s progress over time; and in the late twentieth century, when rock festivals sought to reclaim a sense of liveness in an increasingly mediatized cultural landscape. keywords: concerts, canons, jazz, rock, virtuosity, history. 1 During the nineteenth century, a conflict arose regarding whether concert repertories should dwell more on the presentation of works from the past, or should concentrate on works of a more contemporary character. The notion that works of the past rather than the present should be the focus of concert life gained hold only gradually over the course of the nineteenth century; as it did, concerts in Europe and the U.S. assumed a more curatorial function, acting almost as a living museum of musical artifacts. While this emphasis on the musical past took hold most sharply in the sphere of “high” or classical music, it has become increasingly common in the popular sphere as well, although whether it fulfills the same function in each realm of musical life remains an open question. -
Computational Models of Music Similarity and Their Applications In
Die approbierte Originalversion dieser Dissertation ist an der Hauptbibliothek der Technischen Universität Wien aufgestellt (http://www.ub.tuwien.ac.at). The approved original version of this thesis is available at the main library of the Vienna University of Technology (http://www.ub.tuwien.ac.at/englweb/). DISSERTATION Computational Models of Music Similarity and their Application in Music Information Retrieval ausgef¨uhrt zum Zwecke der Erlangung des akademischen Grades Doktor der technischen Wissenschaften unter der Leitung von Univ. Prof. Dipl.-Ing. Dr. techn. Gerhard Widmer Institut f¨urComputational Perception Johannes Kepler Universit¨atLinz eingereicht an der Technischen Universit¨at Wien Fakult¨atf¨urInformatik von Elias Pampalk Matrikelnummer: 9625173 Eglseegasse 10A, 1120 Wien Wien, M¨arz 2006 Kurzfassung Die Zielsetzung dieser Dissertation ist die Entwicklung von Methoden zur Unterst¨utzung von Anwendern beim Zugriff auf und bei der Entdeckung von Musik. Der Hauptteil besteht aus zwei Kapiteln. Kapitel 2 gibt eine Einf¨uhrung in berechenbare Modelle von Musik¨ahnlich- keit. Zudem wird die Optimierung der Kombination verschiedener Ans¨atze beschrieben und die gr¨oßte bisher publizierte Evaluierung von Musik¨ahnlich- keitsmassen pr¨asentiert. Die beste Kombination schneidet in den meisten Evaluierungskategorien signifikant besser ab als die Ausgangsmethode. Beson- dere Vorkehrungen wurden getroffen um Overfitting zu vermeiden. Um eine Gegenprobe zu den Ergebnissen der Genreklassifikation-basierten Evaluierung zu machen, wurde ein H¨ortest durchgef¨uhrt.Die Ergebnisse vom Test best¨a- tigen, dass Genre-basierte Evaluierungen angemessen sind um effizient große Parameterr¨aume zu evaluieren. Kapitel 2 endet mit Empfehlungen bez¨uglich der Verwendung von Ahnlichkeitsmaßen.¨ Kapitel 3 beschreibt drei Anwendungen von solchen Ahnlichkeitsmassen.¨ Die erste Anwendung demonstriert wie Musiksammlungen organisiert and visualisiert werden k¨onnen,so dass die Anwender den Ahnlichkeitsaspekt,¨ der sie interessiert, kontrollieren k¨onnen. -
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 -
Sooloos Collections: Advanced Guide
Sooloos Collections: Advanced Guide Sooloos Collectiions: Advanced Guide Contents Introduction ...........................................................................................................................................................3 Organising and Using a Sooloos Collection ...........................................................................................................4 Working with Sets ..................................................................................................................................................5 Organising through Naming ..................................................................................................................................7 Album Detail ....................................................................................................................................................... 11 Finding Content .................................................................................................................................................. 12 Explore ............................................................................................................................................................ 12 Search ............................................................................................................................................................. 14 Focus .............................................................................................................................................................. -
Orreport Annual 2013 – 2014
FA Annual 2013 – 2014 C T OR Repor t We acknowledge the financial support of the Government of Canada through the Department of Canadian Heritage Canada Music Fund and of Canada's Private Radio Broadcasters. 2 Message From the Chair We are extremely FACTOR 2013–2014 FACTOR proud of the role we play in supporting Canadian musical artists Message From the Chair 3 After serving on FACTOR’s Board of Directors for the past six years, it is with pride that I write my last message as Chair. It is remarkable to think how much FACTOR has changed since I first became involved with the organization. Over this time, FACTOR has made a number of important improvements and transforma- tional changes in the way it administers funding for the Canadian independent music industry. These include efforts to build staff expertise to ensure consistent, fair and transparent funding; to develop a res- ponsible investment strategy for surplus funding that ensures long-term 2013–2014 FACTOR funding stability; the modernization of our application processes and client services with investments in digital infrastructure; and, most importantly, a re-design of our programs to better reflect how the industry is monetizing recorded music and to ensure investments are made in areas where they will have the greatest potential to be com- mercially meaningful. FACTOR’s ability to successfully navigate the dramatic changes shaping the Canadian independent music industry is due in large part to the stable funding it receives from the public-private partnership shared between Canada’s private radio broadcasters and the Government of Canada through the Department of Canadian Heritage.