DOCSLIB.ORG

Dec. 22, 2015 Snd. Tech. Album Arch

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dec. 22, 2015 Snd. Tech. Album Arch SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1970 (CBS) !2 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) E=Jerry Boys P=Roy Guest SOURCE: Original Album liner notes, Discogs Alan Sorrenti-Come Un Vecchio Incensiere All’alba Di Un Villaggio Deserto S= Sound Techniques Studio Chelsea, London. (PARTIAL TRACKING AND MIX: SOUND TECHNIQUES A-RANGE) S=Island Studio, London (PARTIAL TRACKING) R=February/March 1973 (EMI) E= Roger Mayer P= Nathan Joseph SOURCE: Original Album Linder Notes, Discogs Alan Hull- Pipedream S=Trident Studio SOHO, London (MIX: SOUND TECHNIQUES A-RANGE) R=1973 (Charisma) E=Ken Scott, Mike Stone, Roy Thomas Baker P=Mike Sweeney SOURCE:Ken Scott, Discogs, Original Album Liner Notes America-America S=Trident Studio SOHO, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) !3 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) R=1971 (Warner Bros.) E=Ken Scott P=Ian Sawmill, Jeff Dexter SOURCE: Ken Scott Session Notes, America Website, Original Album Liner Notes Andy Fernbach-If You Miss Your Connexion S=Central Sound Studio, 9 Denmark Street, London (TRACKED AND MIXED: SOUND TECHNIQUES SYSTEM 12) R=Feb 1969 (Tapestry) E=Freddy Winrose P=Tony T.S. McPhee SOURCE: Original Album liner notes/Discogs Andwella’s Dream- People’s People S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1971(RCA) E=Robin Geoffrey Cable P=Andrew Cameron Miller, David Lewis, Phil Gillin SOURCE: Discogs, Original Album Liner Notes Andwella’s Dream- Worlds End S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) !4 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) R=1970 (Dunhill) E=Robin Geoffrey Cable P=Andrew Cameron Miller, David Lewis, John Hawkins SOURCE: Discogs, Original Album Liner Notes Andy Roberts-Home Grown S= Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= December 1969 (Phillips) E= Victor Gamm, Roger Quested P= Sandy Roberton SOURCE: Original Album Liner Notes, Discogs Andy Roberts-Nina and The Dream Tree S= Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= December 1971 (Pegasus) E= Steve Mayberry P= Sandy Roberton SOURCE: Original Album Liner Notes, Discogs Andy Roberts-Everyone S= Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) !5 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) R= December 1971 (Ampex) E= Victor Gamm, Roget Mayer, Roger Beale P= Sandy Roberton SOURCE: Original Album Liner Notes, Discogs Andy Roberts-Andy Roberts and The Great Stampede S= Sound Techniques Studio Chelsea, London. (MIX: SOUND TECHNIQUES A-RANGE) S= Olympic Studio Barnes, London. (TRACKING) R= 1973 (Elektra) E= Jerry Boys P= Sandy Roberton SOURCE: Discogs, Original Album Liner Notes Andy Roberts-Urban Cowboy S= Sound Techniques Studio Chelsea, London. (PARTIAL TRACKING AND MIX: SOUND TECHNIQUES A-RANGE) S= Livingston Studio and Olympic Barnes, London. (PARTIAL TRACKING) R= November 1971 thru March 1973 (Elektra) E= Jerry Boys P= Sandy Roberton SOURCE: Discogs, Original Album Liner Notes !6 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Ashley Hutchings-Kickin Up Sawdust S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES SYSTEM-12) S=Sawmills Studio R= 1977 Rel. (Harvest) E= Jerry Boyd, Victor Gamm P=Ashley Hutchings SOURCE: Original Album liner notes/Discogs Ashley Hutchings-Son of Morris On S=Sound Techniques Studio Chelsea, London. (PARTIAL TRACKING. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic #1, Barnes, London (PARTIAL TRACKING) R= 1976 Rel. (Harvest) E= Victor Gamm P=Ashley Hutchings SOURCE: Original Album liner notes/Discogs Ashton, Gardner, Dyke & Co.-What a Bloody Long Day It’s Been S= De Lane Lea Studio Dean Street, SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1972 E= Dave Stock P= Tony Ashton SOURCE: Original Album Liner Notes, Discogs !7 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Atomic Rooster-Death Walks Behind You S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Elektra) E=David Hentschel P=Vincent Crane SOURCE= David Hentschel Sound Techniques Session Notes, Original album liner notes. Atomic Rooster-In Hearing of Atomic Rooster S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1971(Elektra) E=David Hentschel P=Vincent Crane SOURCE= David Hentschel Sound Techniques Session Notes, Original album liner notes. Atomic Rooster-Made In England S=Trident Studio SOHO, London. (TRACKED: SOUND TECHNIQUES A-RANGE) R=1972 (Elektra) E=David Hentschel P=Vincent Crane SOURCE= David Hentschel Sound Techniques Session Notes, Original album liner notes. !8 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Aynsley Dunbar Retaliation- Aynsley Dunbar Retaliation S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1968 (Blue Thumb Records) E=Ken Scott, Victor Gamm P=Ian Samwell SOURCE:Ken Scott, Discogs Al Kooper- New York City (You’re A Woman) S=Trident Studio SOHO, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Columbia Studios, London. (PARTIALLY TRACKED) R=1971 (Columbia) E=Doug Pomeroy, Ken Scott, Frank Laico, Mark Friedman, Sy Mitchell P=Al Kooper SOURCE:Ken Scott, Discogs. Al Stewart-Love Chronicles S= De Lane Lea Studio Kingsway, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1969 E= John Wood, Ron Pender P=John Wood, Roy Guest, Al Stewart !9 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) SOURCE: Original Album liner notes, Discogs, alstewart.com Al Stewart-Orange S=Trident Studio SOHO, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1972 E=David Hentschel P=John Anthony SOURCE: David Hentschel Sound Techniques Session Notes, Discogs Al Stewart-Past, Present and Future S=Trident Studio SOHO, London. (MIX: SOUND TECHNIQUES A-RANGE) R=April 1973-1973 (CBS) E=Mike “Clay” Stone P=John Anthony SOURCE:The Queen Chronology: The Rec. & Release History of the Band AMMM-After Rapidly Circling the Plaza S=Sound Techniques Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=June 8,1966 & June 27,1966 (Elektra) E= Harry Davis, Jac Holzman P=Peter Jenner !10 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) SOURCE:Discogs. All Music. Audience-House on The Hill S=Trident Studios SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1971 Rel. (Charisma) E=Robin Cable P=Gus Dudgeon SOURCE:Discogs, Album Liner Notes Audience-Lunch S=Trident Studios SOHO, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=November 1971 through January 1972 (Charisma) E=David Hentschel P=Gus Dudgeon SOURCE: David Hentschel Sound Techniques Session Notes, Original album liner notes Badfinger-Magic Christian Music S=Trident Studio SOHO, London. (PARTIALLY TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S= EMI Abbey Road, London. (PARTIALLY TRACKED AND MIXED) !11 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) S= IBC Studio, London. (PARTIALLY TRACKED) R=April 1-October 1, 1969 (Apple) E= Tony Clark at Abbey Road. Mike Jarratt. Ron Furmanek P=Mal Evans/Tony Visconti/Paul McCartney SOURCE: Various Badfinger-No Dice S=Trident Studio SOHO, London (PARTIALLY TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S= Abbey Road, London. (PARTIALLY TRACKED AND MIXED) R= April 18-26, 1970 (Apple) E=John Kurlander, Richard Lush P=Geoff Emerick/Mal Evans SOURCE:Discogs Bakerloo-Bakerloo S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1969 (Harvest) E=Barry Sheffield P=Gus Dudgeon SOURCE:Ken Scott, Discogs, Original Album Liner Notes !12 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Band-Stage Fright S=Trident Studio SOHO, London.
Load more

Recommended publications
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • Hartlepool Sport Hartlepool Snail
    HartlepoolHartlepool SportSport HartlepoolHartlepool SnailSnail est, 2001 SPECIAL EDITION No 666 Price :- Freedom of Speech for all ‘Angus the Monkey’ sent off in Scunthorpe groping incident. Editor: Larry Deadwood Silly Comments: Jon Fool Saturdays League match was brought to a stand still as ‘out-of-control’ A round-up of last years News Highlights from your favourite local ‘Angus’ was escorted from the pitch after allegedly ‘groping the referee. newspaper: ‘Angus the Monkey’ sent off in Darlington groping incident. Tuesday Night’s friendly match was marred as ‘out-of-control’ ‘Angus’ PANGOLINS - Three weeks news items on the first presentation in Africa - a was escorted from the pitch after allegedly ‘groping’ the ball boy. failed acknowledgment of its arrival in Hartlepool - and a typical ‘Snail’ report ‘Angus the Monkey’ sent off in Wrexham groping incident. months later bearing no relevance to the topic. Next Saturday’s match will be brought to a stand still by an ‘out-of-con- trol’ ‘Angus’ who will be escorted from the pitch after allegedly ‘groping TETHERED HORSES - 300 photo’s of the same two tethered horses in the linesman. Brenda Road taken from the same angle (actually the same photo) which readers have grown to love. ‘Angus the Monkey’ Identified It was revealed today that ‘Angus the Monkey’ is none other than the ‘Snails’ ♦ MISPRINTS -A selection of our more famous (unintentional) howlers Jon Fool. He was identified after ‘groping’ the Chairman of ‘Pools’ while attempting to get his own page in the ‘clubs programme‘. ♦ MISQUOTES
    [Show full text]
  • Chart Book Template
    Real Chart Page 1 become a problem, since each track can sometimes be released as a separate download. CHART LOG - F However if it is known that a track is being released on 'hard copy' as a AA side, then the tracks will be grouped as one, or as soon as known. Symbol Explanations s j For the above reasons many remixed songs are listed as re-entries, however if the title is Top Ten Hit Number One hit. altered to reflect the remix it will be listed as would a new song by the act. This does not apply ± Indicates that the record probably sold more than 250K. Only used on unsorted charts. to records still in the chart and the sales of the mix would be added to the track in the chart. Unsorted chart hits will have no position, but if they are black in colour than the record made the Real Chart. Green coloured records might not This may push singles back up the chart or keep them around for longer, nevertheless the have made the Real Chart. The same applies to the red coulered hits, these are known to have made the USA charts, so could have been chart is a sales chart and NOT a popularity chart on people’s favourite songs or acts. Due to released in the UK, or imported here. encryption decoding errors some artists/titles may be spelt wrong, I apologise for any inconvenience this may cause. The chart statistics were compiled only from sales of SINGLES each week. Not only that but Date of Entry every single sale no matter where it occurred! Format rules, used by other charts, where unnecessary and therefore ignored, so you will see EP’s that charted and other strange The Charts were produced on a Sunday and the sales were from the previous seven days, with records selling more than other charts.
    [Show full text]
  • 'Judas Priest-On Tour' Violators Attacked
    MARCH 18, 1978 VOL. 1, NO. 1 Benefiting FREE San Antonio For Your Austin• Houston Entertainment ~ 'Judas Priest-On Tour' JC 35296 The high priest of heavy rock 'n' roll with their inimitable style grace our shores once again. To change or not to change. That is what a rock and roll band must deal with. A group may develop a success­ ful formula for its music, which leads to personal and/ or commercial contentment. Musicians, upon reach­ ing this point, find their music evolving in a new direction or continuing their successful format. Judas Priest has choosen the security of proven success. Their first two ViolatorsAttacked domestic albums were well See story on page 10 received in this area. With the release of a new album "Stained Class" and • Elvis Costello an upcoming concert March INSIDETHIS • Radio Survey 24 their claim to fame is • Trivia Quiz sound. ISSUE! .-HELLO IT'SUS- / Welcome to It's Onlu Rock and , Muhammad Ali, chicken fried steak, Roll. What are you being welcomed cars with dead batteries, Rocky Hor­ to anyway? ror Picture Show and working over­ It's Only Rock and Roll is a time to afford concert tickets and newspaper/magazine of sorts put out vinyl habits. by a few people who know and love Sound comp'iicated, si1ly, insane, music and believe it's time for a unclear? It is all that and more. semi-intelligent, semi-informed rag Best of all it's fun and we' 11 attanpt about music on the local scene. to write about it: show pictures of Because no one is adequately it and make a meager living from it filling the music news and informa­ as long as it stays complicated, tion void in San Antonio, we decided silly, insane, unclear and fun.
    [Show full text]
  • Emerson, Lake & Palmer Can Still Turn Us on with These Top 5 Song Lyrics
    Emerson, Lake & Palmer can still turn us on with these top 5 song lyrics Sign in Akro… Welc… TRENDING TOPICS: metal | Concerts | Celine Dion | Music | festivals | Sports | Comedy | AXS Buzz | rock | pop | Los Angeles | Emerson, Lake & Palmer can still turn us on with these top 5 song lyrics windhoek35 YouTube merson, Lake & Palmer no longer tour as a trio, but Keith Emerson and Greg Lake have recorded and toured together as a duo. In 2010 Keith and Greg released an album titled Live E from Manticore Hall. Performing a two man version of the iconic Emerson, Lake & Palmer songs, the album was recorded during their American tour. The power trio was one of the most commercially successful and popular progressive rock bands of their era. Their music relied heavily on the use of the Moog synthesizer, Hammond organ and Keith Emerson’s http://www.axs.com/emerson-lake-palmer-can-still-turn-us-on-with-these-top-5-song-lyrics-60805[7/13/2015 9:31:39 PM] Emerson, Lake & Palmer can still turn us on with these top 5 song lyrics use of what has been described as the “flamboyant virtuoso” use of the piano. Classical music, hard rock and jazz were the dominating influences in the music created by ELP. Keith Emerson, Greg Lake and Carl Palmer made up the British trio, but it found its origins at the Fillmore West in San Francisco. Emerson and Lake, who were looking for projects outside their current bands, worked together and found their styles were “compatible and complementary.” Music impresario Robert Stigwood suggested that they add Carl Palmer as their drummer.
    [Show full text]
  • 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.
    [Show full text]
  • (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
    [Show full text]
  • Hard Knocks Music Credits
    (Cast) Maple Leaf Jazz Band Drums Roger Kennedy Bass Gary Dunbier Banjo John Withers Trombone Don Santin Trumpet Rob Green Alto sax Kim Rushworth Music Editor Zbigniew Friedrich Music Consultant Greg Pickhaver Hard Knocks Performed by Paul Kelly & the Dots Written by Kelly Published by Mushroom Courtesy of Mushroom Records Evie Part 1 Performed by Stevie Wright Written by Vanda/Young Published by Alberts Courtesy of Albert Productions Most People I Know Performed by Aztecs Written by Thorpe Published by Rock of Ages Courtesy of Havoc Records Who Listens To The Radio Performed by Sports Written by Cummings/Pendelbury Published by Antipodes/Mushroom Courtesy of Mushroom Records My Little Angel Performed by William Shakespeare Written by Vanda/Young Published by Alberts Courtesy of Albert Productions Take A Long Line Performed by Angels Written by Brewster/Neeson/Brewster Published by Alberts Courtesy of Albert Productions Where The Action Is Performed by John Paul Young Written by Vanda/Young Published by Alberts Courtesy of Albert Productions Birmingham Performed by John Paul Young Written by Vanda/Young Published by Alberts Courtesy of Albert Productions High Voltage Performed by AC/DC Written by Scott/Young/Scott Published by Alberts Courtesy of Albert Productions I Remember When I Was Young Performed by Matt Taylor Written by Matt Taylor Published by Mushroom Courtesy of Mushroom Records Breakfast at Sweethearts Performed by Cold Chisel Written by Walker Published by Rondor Courtesy of W.E.A. Records When The Heat's Off Performed by Richard Clapton Written by Richard Clapton Published by Gypsy Courtesy of Infinity Records High Class Women Performed by John St.
    [Show full text]
  • Unsent Love Letters Meditations on Erik Satie
    ELENA KATS-CHERNIN unsent love letters meditations on Erik Satie TAMARA-ANNA CISLOWSKA PIANO The sound of dreams on velvet In this age where no-one has any time, diaries are chock-a-block, schedules bursting and calendars stuffed, it could be said that what is missing is the space to miss things, even space. This album is a first step to redressing some of the balance between the time to think that we know we don’t have, and the frenzy of saving the dates, must-dos and urgent deadlines. I would like to suggest we wind back the clock a moment, or throw out the clock. Taking Satie’s life and work as a central theme, the album is a collection of personal ruminations from Elena Kats-Chernin on the great eccentric Erik Satie. You could think of it as a musical memoir from one composer to another. A folding and unfolding of Elena’s thoughts and observations. The 26 pieces outline the concerns, convictions and loves of a man who was sensitive, singular and contradictory. He was also brilliant, unguarded and unconventional, and able to mix the devil-may-care with the stiff-upper-lip. Satie’s life was a fascinating, fervoursome affair; from the first strike of love and then lifelong estrangement with artist and muse Suzanne Valadon, to the unexpected celebrity and conflict of his last ten years. After he died, friends gaining access to his apartment, for the first time in almost three decades, found conditions both perplexing and romantically fastidious in their own way: two grand pianos one atop the other, one chair, one table, seven velvet suits and the love letters – many, many unsent love letters.
    [Show full text]
  • Yes Highlights the Very Best of Yes Mp3, Flac, Wma
    Yes Highlights The Very Best Of Yes mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Highlights The Very Best Of Yes Country: Australia Released: 1993 Style: Pop Rock, Prog Rock MP3 version RAR size: 1373 mb FLAC version RAR size: 1419 mb WMA version RAR size: 1575 mb Rating: 4.8 Votes: 675 Other Formats: ASF FLAC AHX AC3 AU ADX WAV Tracklist Hide Credits Survival Engineer – Gerald ChevinPerformer – Bill Bruford, Chris Squire, Jon 1 6:18 Anderson, Peter Banks, Tony KayeProducer – Paul Clay, YesWritten- By – Anderson* Time And A Word Arranged By [Orchestral Arrangements] – Tony CoxEngineer – Eddie 2 Offord*Performer – Bill Bruford, Chris Squire, Jon Anderson, Peter 4:31 Banks, Tony KayeProducer – Tony ColtonWritten-By – Foster*, Anderson* Starship Trooper Engineer – Eddie Offord*Performer – Bill Bruford, Chris Squire, (9:26) Jon Anderson, Steve Howe, Tony KayeProducer – Eddie Offord*, Yes Life Seeker 3a. Written-By – Anderson* Disillusion 3b. Written-By – Squire* Würm 3c. Written-By – Howe* I've Seen All Good People Engineer – Eddie Offord*Performer – Bill Bruford, Chris Squire, (6:53) Jon Anderson, Steve Howe, Tony KayeProducer – Eddie Offord*, Yes Your Move 4a. Written-By – Anderson* All Good People 4b. Written-By – Squire* Roundabout Engineer – Eddie Offord*Performer – Bill Bruford, Chris Squire, Jon 5 8:31 Anderson, Rick Wakeman, Steve HoweProducer – Eddie Offord*, YesWritten-By – Anderson*, Howe* Long Distance Runaround Engineer – Eddie Offord*Performer – Bill Bruford, Chris Squire, Jon 6 3:33 Anderson, Rick Wakeman, Steve
    [Show full text]
  • Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • 31 July 2013 Ms Sabina Wynn the Executive Director Australian Law
    31 July 2013 Ms Sabina Wynn The Executive Director Australian Law Reform Commission GPO Box 3708 Sydney NSW 2001 Dear Ms Wynn Submission by J. Albert & Son Pty Ltd (Alberts) in response to the ALRC’s “Copyright and the Digital Economy” Discussion Paper As Managing Director of Alberts , I welcome the opportunity to respond to the Discussion Paper. Alberts’ view Alberts is a family-owned company established by my great-great grandfather in 1885, the main business of which is the creation, protection and exploitation of music copyright. In its early days, Alberts’ copyright interests tended towards acquisition of local rights for overseas musical works. That changed in 1964 when Alberts established Albert Productions, an enterprise with the express purpose of being a developer and (in due course) exporter of music copyrights. Alberts went on to work with some of Australia’s most significant artists and writers including the Easybeats, the Angels, Rose Tattoo, John Paul Young and AC/DC. In association with Alberts, AC/DC has gone on to become one of the most successful rock bands of all time, and helped Alberts become a net-exporting Australian copyright owner. Alberts is a member of the following Australian copyright collecting societies and trade associations: AMPAL, APRA|AMCOS, ARIA and PPCA. I am aware that a number of these organisations, together with the Australian Copyright Council, have tendered submissions to the ALRC. Alberts is broadly supportive of those submissions and the information contained within them. Rather than restate their position, my aim is to provide a perspective from an independent family company that is actively engaged in the music business.
    [Show full text]