Tab Benoit Album Download Tab Benoit - Power of the Pontchartrain (2007) Flac

Total Page:16

File Type:pdf, Size:1020Kb

Tab Benoit Album Download Tab Benoit - Power of the Pontchartrain (2007) Flac tab benoit album download Tab Benoit - Power Of The Pontchartrain (2007) flac. Artist : Tab Benoit Title : Power Of The Pontchartrain Year Of Release : 2007 Label : Telarc Genre : Blues/Country/Folk, Blues Quality : MP3 320 kbps / FLAC (tracks) Total Time : 00:52:22 Total Size : 124.4 MB / 312,38 MB WebSite : Album Preview. [4:22] 01. Tab Benoit - Don’t Make No Sense [4:42] 02. Tab Benoit - Good To Ya, Baby [5:05] 03. Tab Benoit - Shelter Me [6:05] 04. Tab Benoit - Power Of The Pontchartrain [5:17] 05. Tab Benoit - For What It's Worth [5:04] 06. Tab Benoit - Midnight And Lonesome [3:55] 07. Tab Benoit - Sac-au-lait Fishing [4:18] 08. Tab Benoit - Somebody's Got To Go [4:17] 09. Tab Benoit - I'm Guilty Of Lovin' You [4:58] 10. Tab Benoit - Addicted [4:21] 11. Tab Benoit - One Foot In The Bayou. ABOUT THE ALBUM 1 disc(s) - 11 track(s) Total length: 00:52:22 Main artist: Tab Benoit Composer: Various Composers Label: Telarc Genre: Blues/country/folk Blues © 2007 Concord Music Group, Inc. ℗ 2007 Concord Music Group, Inc. Louisiana journeyman swamp rocker Tab Benoit has been churning out an album a year since at least 2002, and between them he stays on the road playing every festival, club, and bar that'll have him. It would seem inevitable that the quality of these studio recordings would decline. But, at least as of 2007's Power of the Pontchartrain, that isn't the case. If anything, this might be the best of a very good lot, as Benoit again teams with Louisiana's Le Roux group (who once backed legend Clarence "Gatemouth" Brown and helped on Benoit's previous release) for another 52- minute wade through muggy yet taut bayou blues. Part of the reason Benoit's recent albums are so strong is that he doesn't insist on playing original material, instead cherry-picking nuggets rearranged to suit his approach. This works particularly well here since he unearths terrific, often obscure material from writers such as Julie Miller (two tracks), David Egan (two others), and even Stephen Stills (a not entirely necessary "For What It's Worth"). Everything gets run through his deep Southern groove, ultimately sounding like Tab Benoit songs, or at least tunes written with him in mind. Benoit abandons the country twang he successfully experimented with on 2006's Brother to the Blues, digging deeper into straight blues (Lonnie Johnson's "Somebody's Got to Go"), Cajun ("Sac-au-Lait Fishing," Benoit's only original here), and the deep soul ballads ("I'm Guilty of Lovin' You") he has typically included on every album. His whiskey- soaked vocals bring warmth and passion to the songs and when he lets loose on that beat-up Telecaster on the title track, the Buffalo Springfield tune, and "Addicted," he shows another side of his talents. The band stays in the pocket throughout, freeing Benoit to concentrate on singing and playing, with the result that Power of the Pontchartrain is not just another strong entry in Tab Benoit's increasingly thick catalog, but also one of his most defining albums. © Hal Horowitz /TiVo. Tab Benoit - Standing On The Bank (2006) flac. Artist : Tab Benoit Title : Standing On The Bank Year Of Release : 2006 Label : Vanguard Records Genre : Blues/Country/Folk, Blues Quality : MP3 320 kbps / FLAC (tracks) Total Time : 00:50:38 Total Size : 118.7 MB / 291,88 MB WebSite : Album Preview. [3:56] 01. Tab Benoit - Make Your Mind Up [3:37] 02. Tab Benoit - Me And My Guitar [3:12] 03. Tab Benoit - Downtown [5:31] 04. Tab Benoit - Standing On The Bank [5:13] 05. Tab Benoit - Matchbox Blues [3:48] 06. Tab Benoit - Rainy Day Blues [4:08] 07. Tab Benoit - You Got What I Want [3:20] 08. Tab Benoit - The Seventh Son [4:01] 09. Tab Benoit - If I Could Quit You [5:43] 10. Tab Benoit - Laundromat Blues [3:41] 11. Tab Benoit - Going Down [4:28] 12. Tab Benoit - Still Going Down The Road. ABOUT THE ALBUM 1 disc(s) - 12 track(s) Total length: 00:50:31 Main artist: Tab Benoit Composer: Unknown Label: Vanguard Records Genre: Blues/Country/Folk, Blues © 2006 Vanguard Records, a Welk Music Group Company ℗ 2006 Vanguard Records, a Welk Music Group Company. On his third album, Tab Benoit stripped his sound to its bare essentials by recording live, directly to a two-track. Naturally, the process gives Standing on the Bank a startling immediacy, as the guitarist shreds a number of originals to pieces with his piercing solos. © Thom Owens /TiVo. Legacy: The Best of Tab Benoit. Tab Benoit's brand of sharp Louisiana swamp blues is all his own, and for some 20 years now (his first album, Nice & Warm, was released by Vanguard Records in 1993) he's been putting it down with refreshing commitment and precision. This solid compilation is drawn from his later albums for Telarc Records (he's released ten albums for Telarc, dating back to 1998), and with tracks like the churning and chugging "Muddy Bottom Blues," a live ten-minute version of "Bayou Boogie" (a speed boogie that blazes and then flies like a tidal wave), and a subtly rewritten version of Stephen Stills' "For What It's Worth" that brings it all home to Louisiana, this set makes for a great introduction to one of the best young blues players out there. Medicine. Purchase and download this album in a wide variety of formats depending on your needs. Buy the album Starting at 14,99€ Copy the following link to share it. You are currently listening to samples. Listen to over 70 million songs with an unlimited streaming plan. Listen to this album and more than 70 million songs with your unlimited streaming plans. 1 month free, then 19.99€ / month. Tab Benoit, MainArtist. ℗ 2011 Telarc International a division of Concord Music Group. Tab Benoit, MainArtist. ℗ 2011 Telarc International a division of Concord Music Group. Tab Benoit, MainArtist. ℗ 2011 Telarc International a division of Concord Music Group. Tab Benoit, MainArtist. ℗ 2011 Telarc International a division of Concord Music Group. Tab Benoit, MainArtist. ℗ 2011 Telarc International a division of Concord Music Group. Tab Benoit, MainArtist. ℗ 2011 Telarc International a division of Concord Music Group. Tab Benoit, MainArtist. ℗ 2011 Telarc International a division of Concord Music Group. Tab Benoit, MainArtist. ℗ 2011 Telarc International a division of Concord Music Group. Tab Benoit, MainArtist. ℗ 2011 Telarc International a division of Concord Music Group. Tab Benoit, MainArtist. ℗ 2011 Telarc International a division of Concord Music Group. Tab Benoit, MainArtist. ℗ 2011 Telarc International a division of Concord Music Group. About the album. 1 disc(s) - 11 track(s) Total length: 00:50:12. © 2011 Telarc International a division of Concord Music Group ℗ 2011 Telarc International a division of Concord Music Group. Why buy on Qobuz. Stream or download your music. Buy an album or an individual track. Or listen to our entire catalogue with our high-quality unlimited streaming subscriptions. Zero DRM. The downloaded files belong to you, without any usage limit. You can download them as many times as you like. Choose the format best suited for you. Download your purchases in a wide variety of formats (FLAC, ALAC, WAV, AIFF. ) depending on your needs. Listen to your purchases on our apps. Download the Qobuz apps for smartphones, tablets and computers, and listen to your purchases wherever you go. Chopin : Piano Concertos. Chopin - Brahms - Schumann. Legacy: The Best of Tab Benoit. Night Train To Nashville. Standing On The Bank. Now Serving: Royal Tea Live From The Ryman. BD Music Presents Christmas Blues. Latest Record Project, Vol. 1. Two legendary live albums released at the end of the sixties gave Johnny Cash’s career a huge boost and turned him into an international star. They were two records were unlike any others: they were recorded in prison. But how did the Man in Black find himself in such an unusual concert hall? More than five years after his death, there is still no getting away from the vital wellspring of music that is the works of J.J. Cale. With his unique alloy of blues, folk, country and jazz, the man worshipped by Clapton, who lived for a while in a trailer, is still one of rock's most influential hermits. A Christmas album (“Happy Xmas”) including an EDM version of “Jingle Bells”, “Lonesome Christmas” or a bluesier “White Christmas”: sound like a good idea? Well, Eric Clapton's gone and done it. After all, if even Bob Dylan has ridden roughshod over tradition (on “Christmas in the Heart”), why not "God" himself? This is far from the first time that the English musician, coming up on 74 years of age, has taken a step back from more or less traditional Blues, but this is something else. Tab benoit album download. Artist: Don Cherry Album: Om Shanti Om Released: 2020 Style: World Music. Format: MP3 320Kbps. Beegie Adair – Best Of Beegie Adair Jazz Piano Christmas Perform (2020) Artist: Beegie Adair Album: Best Of Beegie Adair Jazz Piano Christmas Perform Released: 2020 Style: Jazz. Format: MP3 320Kbps. Spaza – Uprize! [Original Motion Picture Soundtrack] (2020) Artist: Spaza Album: Uprize! [Original Motion Picture Soundtrack] Released: 2020 Style: Jazz. Format: MP3 320Kbps. Various Artists – Blue Note Reimagined (2020) Artist: Various Artists Album: Blue Note Reimagined Released: 2020 Style: Jazz. Format: MP3 320Kbps. Patty Waters – An Evening In Houston (2020) Artist: Patty Waters Album: An Evening In Houston Released: 2020 Style: Jazz. Format: MP3 320Kbps. Peggy Lee – Ultimate Christmas (2020) Artist: Peggy Lee Album: Ultimate Christmas Released: 2020 Style: Jazz.
Recommended publications
  • Report-On-Japan.Pdf
    Contents 1. Executive Summary p. 4 2. An Introduction to the Music Market p. 6 3. The Entertainment Environment p. 7 (I)TV p. 8 (II) Radio p. 9 (III) Mobile p. 10 (IV) Online p. 12 (V) Print p. 13 (VI) Record Labels p. 14 (VII) Music Publishing p. 15 (VIII) Local Talent p. 16 (IX) Clubs and Dance p. 17 (X) Live Performance p. 18 4. The Digital Landscape p. 21 Mobile Music p. 22 Internet Music Downloads p. 24 Digital Music Services p. 26 5. Market Entry Recommendations p. 26 6. Appendices p. 28 Top 10 Selling Domestic Albums in 2011 p. 28 Top 10 Selling International Albums in 2011 p. 28 Market Statistics p. 28 Music-related Trade Bodies and Associations p. 29 2 CONFIDENTIALITY NOTICE & DISCLAIMER This document was prepared for internal use by Canadian Government and CAAMA members plus Canadian Music Week attendees only and is not for forwarding or distribution to any third party. It may not be posted on any website. All details referenced are the latest available to us at the time of writing, and all information utilized is believed to be accurate and reliable at the time of submission. However, Swat Enterprises Pte. Ltd. accepts no liability whatsoever for any loss or damage resulting from errors, inaccuracies or omissions 3 1. Executive Summary Japan, an archipelago of 6,852 islands with 47 prefectures, has the world’s tenth largest population with over 127 million people. Its area of 377,873 km2 is close to that of Germany and Switzerland. The greater Tokyo area is the largest metropolis in the world with a population of around 36 million, more than the entire population of Canada.
    [Show full text]
  • A&R Update December 1-2-3-4 GO! RECORDS 423
    A&R Update December 1-2-3-4 GO! RECORDS 423 40th St. Ste. 5 Oakland, CA 94609 510-985-0325 E-mail: [email protected] Web: www.1234gorecords.com 4AD RECORDS 17-19 Alma Rd. London, SW 18, 1AA, UK E-mail: [email protected] Web: www.4ad.com Roster: Blonde Redhead, Anni Rossi, St. Vincent, Camera Obscura Additional locations: 304 Hudson St., 7th Fl. New York, NY 10013 2035 Hyperion Ave. Los Angeles, CA 90027 825 RECORDS, INC. Brooklyn, N.Y. 917-520-6855 E-mail: [email protected] Web: www.825Records.com Styles/Specialties: Artist development, solo artists, singer-songwriters, pop, rock, R&B 10TH PLANET RECORDS P.O. Box 10114 Fairbanks, AK 99710 E-mail: [email protected] Web: www.10thplanet.com 21ST CENTURY RECORDS Silver Lake, CA 323-661-3130 E-mail: [email protected] Web: www.21stcenturystudio.com Contact: Burt Levine 18TH & VINE RECORDS ALLEGRO MEDIA GROUP 20048 N.E. San Rafael St. Portland, OR 97230 503-491-8480, 800-288-2007 Website: www.allegro-music.com Genres: jazz, bebop, soul-jazz 21ST CENTURY STUDIO Silver Lake, CA 323-661-3130 Email Address: [email protected] Website: www.21stcenturystudio.com Genres: rock, folk, ethnic, acoustic groups, books on tape, actor voice presentations Burt Levine, A&R 00:02:59 LLC PO Box 1251 Culver City, CA 90232 718-636-0259 Website: www.259records.com Email Address: [email protected] 4AD RECORDS 2035 Hyperion Ave. Los Angeles, CA 90027 Email Address: [email protected] Website: www.4ad.com Clients: The National, Blonde Redhead, Deerhunter, Efterklang, St.
    [Show full text]
  • Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality
    Unbound Jazz: Composing and Performing in a Multi- Cultural Tonality By Carlo Estolano Commentaries for the PhD folio of compositions University of York Music December 2017 2 3 Unbound Jazz: Composing and Performing in a Multi-Cultural Tonality Thesis submitted in partial fulfilment of a PhD degree in Music at The University of York, December 2018 by Carlo Estolano. Abstract This folio is conceived to propose and demonstrate music realisation of original compositions throughout the employment of elements of mainly two distinct sources: a selection from the wide palette of Brazilian folk styles that have improvisation as a strong element, which is internationally acknowledged as Brazilian Jazz; and its intersections with a certain style of European Jazz represented by artists notable by their keenness to combine elements from distinct musical genres with their Classical background, such as Ralph Towner, Jan Garbarek, John Abercrombie, Eberhard Weber, Kenny Wheeler, Terje Rypdal, Keith Jarrett to name a few. Both Brazilian and European approaches to Jazz seem to share processes of appropriation of foreign musical languages, as well as utilising characteristic features of their own traditions. Another common ground is their relation with some elements and procedures of classical music. The methodology to accomplish an organized collection of musical material was to divide them in five major influences, part of them by composers and part by genres notable by having evolved through absorbing elements from distinct cultural sources. In five projects, fifteen original compositions are provided along with their recorded and/or filmed performances and commentaries about the compositional aspects, concerningthe style or composer focused on.
    [Show full text]
  • Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources
    Discography Of The Vanguard Label Vanguard Records was established in New York City in 1947. It was owned by Maynard and Seymour Solomon. The label released classical, folk, international, jazz, pop, spoken word, rhythm and blues and blues. Vanguard had a subsidiary called Bach Guild that released classical music. The Solomon brothers started the company with a loan of $10,000 from their family and rented a small office on 80 East 11th Street. The label was started just as the 33 1/3 RPM LP was just gaining popularity and Vanguard concentrated on LP’s. Vanguard commissioned recordings of five Bach Cantatas and those were the first releases on the label. As the long play market expanded Vanguard moved into other fields of music besides classical. The famed producer John Hammond (Discoverer of Robert Johnson, Bruce Springsteen Billie Holiday, Bob Dylan and Aretha Franklin) came in to supervise a jazz series called Jazz Showcase. The Solomon brothers’ politics was left leaning and many of the artists on Vanguard were black-listed by the House Un-American Activities Committive. Vanguard ignored the black-list of performers and had success with Cisco Houston, Paul Robeson and the Weavers. The Weavers were so successful that Vanguard moved more and more into the popular field. Folk music became the main focus of the label and the home of Joan Baez, Ian and Sylvia, Rooftop Singers, Ramblin’ Jack Elliott, Doc Watson, Country Joe and the Fish and many others. During the 1950’s and early 1960’s, a folk festival was held each year in Newport Rhode Island and Vanguard recorded and issued albums from the those events.
    [Show full text]
  • THE MARKETING of BLACK MUSIC James R
    Contributions in Black Studies A Journal of African and Afro-American Studies Volume 4 Article 3 August 2008 THE MARKETING OF BLACK MUSIC James R. Mitchell Follow this and additional works at: https://scholarworks.umass.edu/cibs Recommended Citation Mitchell, James R. (2008) "THE MARKETING OF BLACK MUSIC," Contributions in Black Studies: Vol. 4 , Article 3. Available at: https://scholarworks.umass.edu/cibs/vol4/iss1/3 This Article is brought to you for free and open access by the Afro-American Studies at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Contributions in Black Studies by an authorized editor of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Mitchell: THE MARKETING OF BLACK MUSIC James R. Mitchell THE MARKETING OF BLACK MUSIC THE LATE saxophonist, Charlie "Yardbird" Parker, recording on the old Savoy label, was often paid for his recording sessions with a bottle ofliquor. One of the best known 50's jazz labels kept musicians loyal to the company with a con­ tinuous supply of drugs. There is the story ofblues singer, Big Mama Thornton. A tough lady with a wicked temper, Big Mama, in order to get paid for an eve­ ning's engagement, pulled a gun on a couple of promoters. Black musicians created the style and the music with which white entertainers such as Sophie Tucker, Al Jolson, Elvis Presley and the Beatles made fabulous­ ly successful careers. But the black creators, blues singers such as Ma Rainey, Bessie Smith, Sam "Lightning" Hopkins, Bo Diddley, and Chuck Berry could never extend their careers beyond the "Chitlin' Circuit," traveling about under grueling circumstances to black night clubs to perform, at times, especially in the South, finding no place to eat or sleep for extremely long distances.
    [Show full text]
  • FW Sep/Oct 02.Qxd
    FREE Volume 2 Number 5 September/October 2002 A BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY “Don’t you know that Folk Music is illegal in Los Angeles?” –Warren Casey of the Wicked Tinkers 16 Days of music and more WORLD FESTIVAL OF SACRED MUSIC RETURNS TO L.A. he 2002 World Festival of Sacred Music - well as the high holy days of the Jewish year. and a wide array of other traditions that, separately Los Angeles (WFSM-LA) is a 16-day, 55 The Festival is designed to encourage people to and together, will transport you to an “inner sacred event, multi-faceted festival committed to travel to sites throughout Los Angeles, crossing not place.” promoting ethical values and bringing the only neighborhood borders, but also cultural, reli- So many of the problems in the world come from community together. The Festival opens gious, and ideological boundaries. It encourages peo- a lack of understanding. The WFSM is one is an on September 14, 2002 continues until ple to see / hear the city they live in; to hear music in umbrella under which artists and venues share cul- T September 29th. Events will take place in places sacred, secular, public and private. There are tures and beliefs to transcend our differences. churches, temples, community centers, theaters, muse- many opportunities to also experience a cross pollina- One way to think about this Festival is that when ums, parks and universities. The artists involved are cul- tion of cultural practices as many of the events occur you to see/feel these events, remember: it is not enter- turally and ethnically diverse and represent a wide array in spaces that do not share the performers faith and tainment.
    [Show full text]
  • American Folk Music:The Golden Age, 1950–75 Thursdays, August 6 – September 24, 2020 on Zoom with Rhythmix Cultural Works Instructor: Peter Elman
    American Folk Music:The Golden Age, 1950–75 Thursdays, August 6 – September 24, 2020 On Zoom with Rhythmix Cultural Works Instructor: Peter Elman "Folk music--a bellwether for us in these days of reckoning." The folk music that emerged in the 1950's has lasted 70 years and will last a lot longer. Why? Because of the confluence of people, politics, philosophy and social awareness that came out of the post-war era which ushered in a new age of enlightenment. This course will examine the soundtrack of that period and how folk music became associated with, aligned with and drove social protest movements while being integrated into the larger world of popular music. Starring: Leadbelly, Woody Guthrie, Pete Seeger, Odetta, Harry Belafonte, Kingston Trio, Barbara Dane, Bob Dylan, Fred Neil, Tim Hardin, Tim Buckley, Judy Collins, Joan Baez, Peter, Paul and Mary, Tom Rush, Phil Ochs, Dave Van Ronk, Ian and Sylvia, Gordon Lightfoot, Leonard Cohen, Neil Young, John Stewart and others. * * * * This course could not be more relevant or timely. Our country is at a crossroads. The devastation of the pandemic and the accompanying economic meltdown have only served to highlight a much deeper problem; namely, the issue of race and inequality in our society. Somehow we have yet to come to terms with our 400-year-old twin original sins: the displacement of native peoples and the enslavement and disenfranchisement of African-Americans. Folk music has been there all along to play a role in the consciousness of Americans. As great as it is to be entertained and enriched by music, sometimes it must serve as more.
    [Show full text]
  • Popular Music and Gays, Lesbians, Bisexuals, and Transgender People: an Annotated Bibliography and Discography
    Page 1 of 35 Popular Music and Gays, Lesbians, Bisexuals, and Transgender People: An Annotated Bibliography and Discography. Compiled by Walt “Cat” Walker. Approved by the GLBTRT Resources Committee. Last revised January 12, 2017. TABLE OF CONTENTS Introduction 2 I. General Nonfiction 3 II. Memoirs & Biographies 9 III. Fiction 32 IV. Drama 33 V. Children & Teens 34 VI. DVDs 35 Page 2 of 35 Introduction Gays, lesbians, bisexuals, and transgender people have always participated in creating popular music. In recent years, the visibility of LGBTQ people in the music world has increased, and more popular music has been created that openly describes the LGBTQ experience. There has also been an increase in books and films related to LGBTQ visibility in popular music, both in fiction and nonfiction. This bibliography includes resources about gay men, lesbians, bisexuals, and transgender persons involved in the popular music field. The books have all been published in print, and many of them may also be found as e-books. Separate sections contain memoirs, novels, plays, and children’s and teen books. Several LGBT popular music-related DVDs are also listed. Each book and DVD has a link to the OCLC WorldCat record (when available) where you can see which libraries hold the item. Most of this resource is comprised of a discography of popular music recordings by LGBTQ artists. It is not meant to be complete, but many recordings still available in CD format for each artist are listed, and several are annotated. Many of these performers’ songs can now also be found on streaming music services and online digital music websites.
    [Show full text]
  • The Battle of Los Angeles: the Cultural Politics of Chicana/O Music in the Greater Eastside
    Battle of Los Angeles | 719 The Battle of Los Angeles: The Cultural Politics of Chicana/o Music in the Greater Eastside Victor Hugo Viesca Chicanos are, when you call yourself that, you know your history, you know where you came from, you know where you need to go. —Yoatl, Aztlán Underground1 I try to find my own Chicana sensibility in the dance. —Martha Gonzales, Quetzal2 ast Los Angeles is the center of a flourishing musical cultural scene with a renewed “Chicana/o” sensibility.3 This scene is being led by a E collective of socially conscious and politically active Latin-fusion bands that emerged in the 1990s, including Aztlán Underground, Blues Experiment, Lysa Flores, Ozomatli, Ollin, Quetzal, Quinto Sol, Slowrider, and Yeska. These groups compose original songs that weave together the sounds of the Ameri- cas, from soul, samba, and the son jarocho to reggae, rumba, and rap. Multilin- gual lyrics in Spanish, English, Cálo, or Nahuatl that speak to themes of urban exile, indigenous identity, and multiracial unity are layered over the music to produce a sonic Chicana/o imaginary of the global city in the twenty-first century.4 Several of the bands within the scene have released full-length al- bums on their own independent record labels such as Xicano Records and Film (Aztlán Underground and Quinto Sol), De Volada Records (Slowrider and Blues Experiment), and Lysa Flores’s Bring Your Love Records (see dis- cography). The bands often collaborate with one another, producing or play- ing on each other’s records and touring on the same bill.
    [Show full text]
  • Bibliographic Citations
    BIBLIOGRAPHIC CITATIONS Cook Music Library Based on Kate L. Turabian, A Manual for Writers of Research Papers, Theses, and Dissertations, 8th ed., rev. Wayne C. Booth, Gregory G. Colomb, and Joseph M. Williams (Chicago: University of Chicago Press, 2013), Chapter 17; and The Chicago Manual of Style, 16th ed. (Chicago: University of Chicago Press, 2010), chapter 14. The numbering system follows Turabian’s. Some details of these citations are matters of opinion, so always find out your teacher’s preferences. For rules about the formation of inclusive page numbers, see Turabian, section 23.2.4. For rules about capitalization in titles, see Turabian, sections 17.1.2 and 22.3.1. Single author or composer Book (17.1): Burkholder, J. Peter. All Made of Tunes: Charles Ives and the Uses of Musical Borrowing. New Haven: Yale University Press, 1995. In bibliographies, the last name of the author comes first, so that the list can be arranged in alphabetical order by name. If the book has a subtitle, include it in the citation, particularly when it contains helpful explanatory information about the scope of the title. If the city of publication is large, well known, or unique, there is generally no need to include the state, country, etc. Score (17.8.5.3): Schumann, Robert. Requiem for Chorus with Orchestra, Op. 148. Edited by Bernhard R. Appel. London: Eulenburg, 2009. For foreign cities of publication, use the English name if there is one (e.g., Vienna not Wien). If the names of two or more cities appear under the publisher’s imprint, cite only the first named.
    [Show full text]
  • Billboard 1971-09-11
    COUNTRY MUSIC, SEE "SPOTLIGHT LOUNGE ACTS ON LAS VEGAS" FACE CHALLENGES IN THIS ISSUE 08120 SEPTEMBER 11, 1971 $1.25 A BILLBOARD PUBLICATION SEVENTY -SEVENTH YEAR The International Music- RecordTape Newsweeklÿ CARTRIDGE TV PAGE 19 HOT 100 PAGE 60 0 r TOP LP'S PAGES 62, 64 Softer Sounds, Retailers Ring Up Heavy B &H Plant to $$ on Campuses 3 -Month Sales Gains Aud Magnetics By BRUCE WEBER By BOB GLASSENBERG By JOHN SIPPEL gust as the peak month of the LOS ANGEI.ES Audio sounds, LOS ANGELES - The mass - NEW YORK -Softer vol- last three. All agree that they Dealer Survey Magnetics, magnetic and video leaning merchandisers and full line less expensive groups that their re- have had to work to maintain NEW YORK The nation's tape manufacturer, has acquired mainly to the acoustical side of ume outlets report - has shown a steady this climb. They also agree that record retailers are enjoying the the manufacturing facility of the music scale, and many new, tail business Tape upswing since April, with Au- the business upturn will con- fruits of the widely reported Bell & Howell Magnetic non -chart artists are making tinue. retailing, a Co., of Irvine, Calif. Terms were campus appearance inroads this general upswing in Jim Schwartz, Schwartz Bros., survey by Billboard's chart de- not disclosed. fall. Although there is a dis- Washington, D. C., reported sub- indicates. Dealers quer- The acquisition of the 100,- in what agents think World B'cast parment crepancy stantial gains on five stores in on their business 000- square -foot plant enables about the money situation on ied reported manufac- Recordings Sold his chain over sales levels of a today as compared to three Audio Magnetics to campuses, most agree that the ago.
    [Show full text]
  • Bayou Boogie: the Americanization of Cajun Music, 1928-1950 Ryan Andre Brasseaux Louisiana State University and Agricultural and Mechanical College, [email protected]
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2004 Bayou Boogie: the Americanization of Cajun music, 1928-1950 Ryan Andre Brasseaux Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Social and Behavioral Sciences Commons Recommended Citation Brasseaux, Ryan Andre, "Bayou Boogie: the Americanization of Cajun music, 1928-1950" (2004). LSU Master's Theses. 2008. https://digitalcommons.lsu.edu/gradschool_theses/2008 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. BAYOU BOOGIE: THE AMERICANIZATION OF CAJUN MUSIC, 1928-1950 A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts In The Department of Geography and Anthropology By Ryan A. Brasseaux B.A., University of Louisiana at Lafayette, 2000 December 2004 TABLE OF CONTENTS LIST OF FIGURES ....................................................................................................................... iii ABSTRACT................................................................................................................................... iv CHAPTER 1 INTRODUCTION
    [Show full text]