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Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
Alex Chilton By:Dave Hoekstra Jan
Alex Chilton by:Dave Hoekstra Jan. 30, 1994 The pairing of Alex Chilton and Ben Vaughn is a natural. Each is a terrifically perceptive songwriter, influenced by the wonder of 1960s AM radio, but stimulated by the challenge of reinvention in the 1990s. Chilton, 42, grew up in Memphis, Tenn., where he played in the Box Tops from 1967-70 and the celebrated Big Star from 1971-74. Chilton's songs have been recorded by the Bangles, R.E.M. and the Replacements, who paid homage with the hit tune "Alex Chilton." Besides working as a songwriter, he has been a cabbie and a dishwasher, and last year, took part in an acclaimed Big Star reunion. Vaughn, 38, was borm in Camden, N.J. Marshall Crenshaw had a hit with Vaughn's "I'm Sorry (But So Is Brenda Lee)," and the Skeletons dipped into the Vaughn songbag for "I Dig Your Wig" and "Lookin' for a 7-11." Vaughn is a passionate American musicologist, having compiled and annotated "Johnny Otis: The Capitol Years," and last year, produced the late Arthur Alexander's "Lonely Just Like Me." Besides being a songwriter, he's been a landscaper and a dishwasher. His new record is "Mono U.S.A." (Bar None Records). Chilton and Vaughn met in the mid-1980s, when they did some Midwestern dates together, and now the Ben Vaughn Combo will open for Chilton Friday at Metro.[Editors note: the cover was only $4!] Chilton and Vaughn plan to collaborate on some new songs. On a conference call last week, Chilton and Vaughn discussed the craft of songwriting. -
A Cypress Is Gone
Louisiana Law Review Volume 80 Number 2 Winter 2020 Article 7 4-22-2020 A Cypress is Gone Thomas C. Galligan Louisiana State University Law Center, [email protected] Follow this and additional works at: https://digitalcommons.law.lsu.edu/lalrev Part of the Law Commons Repository Citation Thomas C. Galligan, A Cypress is Gone, 80 La. L. Rev. (2020) Available at: https://digitalcommons.law.lsu.edu/lalrev/vol80/iss2/7 This Article is brought to you for free and open access by the Law Reviews and Journals at LSU Law Digital Commons. It has been accepted for inclusion in Louisiana Law Review by an authorized editor of LSU Law Digital Commons. For more information, please contact [email protected]. A Cypress Is Gone Thomas C. Galligan* In my metaphorical forest of torts scholars, there are many tall and strong trees, reaching with their scholarship and teaching to the sky. Some are oaks—strong and traditional; some are maples—with wide leaves. Others—the Californians—are sequoias. But some—a remarkable number, really—are a bit different: they reach to the sky but spring from water. They are the Louisianans. They are cypress trees, and one of the most beautiful and resilient of those cypress trees is gone—Dave Robertson. Professor David W. Robertson of the University of Texas School of Law passed away late in 2018 after courageously and quietly battling cancer. Dave was certainly a Texan, having spent the vast majority of his many years of teaching at UT, but he also was a Louisianan. As he humbly and humorously described himself, he was “one of the best lawyers to ever come out of Pollock, Louisiana.” He was a graduate of the Louisiana State University Law School, Class of 1961; he taught here both as a full-time faculty member and as a visitor, and he was a frequent speaker at LSU and other Louisiana continuing legal education programs. -
HOUSE JOINT RESOLUTION 1023 by Coley a RESOLUTION to Honor
HOUSE JOINT RESOLUTION 1023 By Coley A RESOLUTION to honor the memory of legendary musician and songwriter Alex Chilton. WHEREAS, it is fitting that this General Assembly should honor the memory of a legendary entertainer, artist, and permanent fixture of American music, Alex Chilton; and WHEREAS, an accomplished musical icon, Alex Chilton was a folk troubadour, blues singer, songwriter, guitarist, master musician, voice of a generation, and godfather of American indie-rock, whose influence has been felt by generations of artist, musicians, and loyal fans; and WHEREAS, born in Memphis, Tennessee, on November 28, 1950, his musical destiny was shaped by the influence of his father, Sidney Chilton, a popular Memphis jazz musician; and WHEREAS, taking up guitar at age thirteen, he was recognized early on for his soulful voice and distinctive style, and as a teenager in 1966, Alex Chilton was asked to join the Devilles, a popular local Memphis band; and WHEREAS, building on their tremendous local popularity, the group was renamed the Box Tops and began to perform nationally with sixteen-year-old Alex Chilton as the lead singer; and WHEREAS, combining elements of soul music and light pop, the Box Tops enjoyed a hit single “The Letter,” which reached number one on the charts in the U.S. and abroad in 1967, and was followed by several other major chart toppers, including “Cry Like a Baby” in 1968, and “Soul Deep” in 1969; and WHEREAS, in early 1970, the members of the Box Tops decided to disband and pursue independent careers, and after moving to New York City, Mr. -
Jackie Shane, Transgender Pioneer of 1960S Soul Music, Dies at 78
SUBSCRIBE LOG IN Jackie Shane, Transgender Pioneer of 1960s Soul Music, Dies at 78 The soul singer Jackie Shane between sets in Canada in 1967. Jeff Goode/Toronto Star, via Getty Images By Liam Stack Feb. 22, 2019 Jackie Shane, a black transgender soul singer who packed nightclubs in 1960s Toronto before she stepped out of the spotlight for decades, only to re-emerge with a Grammy-nominated record in her 70s, has died. She was 78. Her death was confirmed by Douglas Mcgowan, her producer and friend. He said her body was found at her home in Nashville on Thursday. He said he did not know when she had died or the cause. Almost five decades passed between Ms. Shane’s 1960s career in Canada and her 2018 Grammy nomination for best historical album, for “Any Other Way.” The record introduced her to a new generation of fans, and today her face is part of a towering mural in downtown Toronto. “I do believe that it’s like destiny,” Ms. Shane told the Canadian Broadcasting Corporation this month. “I really feel that I have made a place for myself with wonderful people. What I have said, what I have done, they say it makes their lives better.” Jackie Shane was born in Nashville on May 15, 1940, and grew up as a black transgender child in the Jim Crow South. But she made her name after she moved to Toronto around 1959, becoming a force in its music scene and packing its nightclubs. She scored the No. 2 spot on the Canadian singles chart in 1963 with her silky cover of William Bell’s “Any Other Way.” The song is about putting on a brave face for the friend of an ex-girlfriend, but Ms. -
Department of Music Stony Brook University
Department of Music Stony Brook University The Revolution guitarist Wendy Melvoin Department of Music Stony Brook University Rock, pop music, and society MUS 109 (86275) Fall 2018 This course is a (mostly) chronological survey of the musicians, producers, albums, concerts, genres, instruments, publications, substances, sounds, arguments, and ideas crucial to the past seven decades of rock and pop music. We will examine a musical form vital to twentieth-century artistic innovation, grappling with questions of race, gender, sexuality, and political change along the way. In addition to readings, you will listen carefully to important pieces of music, exploring them formally and historically. Each week, you’ll read a mixture of autobiography, music journalism, interviews, social criticism, and more. You will listen to music, and sometimes view a documentary or video. Several short response essays throughout the semester will allow you to flex your critical and argumentative muscles. By the end of the semester, you will possess an expanded musical vocabulary and a deep knowledge of an important branch of musical history. Class meetings: Tuesday and Thursday, 10:00 a.m.-11:20 p.m. Location: Frey, Room 100 Professor: Dr. Benjamin Tausig ([email protected]) Teaching assistants: Sarah Ghandour ([email protected]) Rebecca Lentjes ([email protected]) Stephen Moran ([email protected]) Kathryn Vetter ([email protected]) Office hours Professor - Tuesday, 11:30-12:30 a.m., or Wednesday by -
Digital Bootcamp Songwriting Workshop
March 2019 www.torontobluessociety.com Published by the TORONTO BLUES SOCIETY since 1985 [email protected] Vol 35, No 3 PHOTO BY LISA MACINTOSH LISA BY PHOTO Kingston’s Miss Emily is at Hugh’s Room Live March 8, Drom Taberna March 9 [Songwriting Workshop] and just confirmed for the Women’s Blues Revue November 29 CANADIAN PUBLICATIONS MAIL AGREEMENT #40011871 Digital Bootcamp John’s Blues Picks Songwriting Workshop Loose Blues News Remembering Jackie Shane Event Listings TORONTO BLUES SOCIETY 910 Queen St. W. Ste. B04 Toronto, Canada M6J 1G6 Tel. (416) 538-3885 Toll-free 1-866-871-9457 Email: [email protected] Website: www.torontobluessociety.com MapleBlues is published monthly by the Toronto Blues Society ISSN 0827-0597 2019 BOARD OF DIRECTORS Derek Andrews (President), Janet Alilovic, Jon Arnold, Matt Douris, Lucie Dufault (Vice-President), Carol Flett (Secretary), Sarah French, Lori Murray, Ed Parsons, Paul Sanderson, Mike Smith, Earl Tucker, John Valenteyn (Executive) Musicians Advisory Council: Brian Blain, Gary Kendall, Samantha Martin, Lily Sazz, Mark Stafford, Jenie Thai, Suzie Vinnick,Ken Whiteley Fundraising Committee: Derek Andrews, Jon Arnold, Mike Smith Volunteer & Membership Committee: Lucie Dufault, Sarah French, Rose Ker, Mike Smith, Ed Parsons, Carol Flett Grants Officer: Barbara Isherwood Office Staff: Hüma Üster (Office Manager) Amanda Rheaume (Project Manager) Publisher/Editor-in-Chief: Derek Andrews Managing Editor: Brian Blain [email protected] Contributing Editors: John Valenteyn, Janet Alilovic, Hüma Üster, Carol Flett Listings Coordinator: Janet Alilovic Mailing and Distribution: Ed Parsons Become a member of the Toronto Blues Society, and get connected with Canada's premier blues Advertising: Dougal Bichan events, releases, and our great blues community. -
Pallbearers (Dan Penn)
Mark V, Dan Penn & The Pallbearers/Muscle Shoals, Alabama Band Directories Copyright 2004 How would like to have had the Mark V or its sucessor, Dan Penn & The Pallbearers play for your fraternity some Saturday night in the 60s. If Dan Penn's Pallbearers played for your gig, they may have arrived in a hearse. Otherwise, members of one of the two groups may have been back in Muscle Shoals at Fame Studios providing the backing, producing, or engineering for some of the greatest hits of T he Heeey Baby Days of Beach Music. See the Del-Rays for a similar effect. Brief Description Hear Dan Penn on the Soundtrack to The Heeey Baby Days of Beach Music Year Established Favorite Venues Music Genre/Recordings R&B Performer ` Instrument Years In The Band Notes Havely, Dan Trumpet FROM ALABAMA MUSIC HALL OF FAME: WWW.alamhof.org - Joined Gregg and Duanne Allman in 1966 as the drummer for the Southern rock band The HourglassProduced the Allman's "Brothers and Sisters" and "Win Lose or Draw"Also produced albums for Delbert McClinton, The Outlaws, Wet Willie and many more Sandlin, Johnny Guitar FROM ALABAMA MUSIC HALL OF FAME: WWW.alamhof.org :We laid the groundwork for the whole Muscle Shoals R&B movement to begin," Carrigan says of himself and fellow musicians David Briggs and Norbert Putnam, who were part of the original "Muscle Shoals Rhythm Section" in the early Sixties. They played on Arthur Alexander's "You Better Move On" (the first R&B hit out of Muscle Shoals), followed that with Jimmy Hughes' chartbuster "Steal Away" and later, on numerous hits by Tommy Roe and by The Tams, including "What Kind of Fool". -
A RESOLUTION to Honor the Memory of Legendary Guitarist Reggie Young
SENATE JOINT RESOLUTION NO.101 By Johnson A RESOLUTION to honor the memory of legendary guitarist Reggie Young. WHEREAS, the members of this General Assembly were saddened to learn of the passing of Reggie Young of Nashville, a humble gentleman whose talents as a guitarist were incomparable among his peers yet accessible to the average listener; and WHEREAS, during a brilliant career that spanned seven decades, Reggie Young served as the anchor of house bands at Memphis's Royal Studios/Hi Records and American Studios and was later one of Nashville's finest session players; and WHEREAS, greatly revered among his peers, Reggie Young was not a household name, but his signature work on guitar and sitar continues to be heard and appreciated worldwide; and WHEREAS, his talents earned him engagements with a stunning array of artists, from Bob Dylan to Gladys Knight, the Staple Singers to Paul Simon, Herbie Mann to Joe Cocker, and B.B. King to Sinead O'Connor; and WHEREAS, Mr. Young played on many monumentally popular recordings, including Dusty Springfield's "Son of a Preacher Man," the Box Tops' "Cry Like a Baby," Elvis Presley's "Suspicious Minds" and "In the Ghetto," and literally hundreds of other hits and classics; and WHEREAS, always a self-effacing professional, Reggie Young never sought to stand out among his fellow musicians in the studio; he played within the context of the song, adding special touches that magically made the song and the recording better, but he also excelled as a soloist when need be; and WHEREAS, he invented and played the iconic opening to Dobie Gray's "Drift Away" on the spot in the studio and recorded one of the greatest sitar solos of all-time on B.J. -
Canada's Only Music Weekly
CANADA'S ONLY MUSIC WEEKLY Week Ending May 20th. 1961 Volume No 1215CENTS mom ROYALISTS Fun MOVEMENT With the winning combination of publicist Helen Conway, Columbia Pictures (Canada) and RCA Victor promotion dynamo, Ed Preston, plus the supporting talents of Odeon Carlton manager, Victor Nowe and CHUM radio personalities, the Columbia flick "Casino Royale" just had to be the best promoted film to hit Toronto in some time. Two days of wild and effective, on the street, in the stores and on the air promoting, kicked off what could be one of the top box office draws of the year. EdPreston, newly appointed RPM RCA Victor promotion man, took on the giant task of promoting a movie Introduces withthe hopes that he could also stimulate interest in the soundtrack. National The movie, `Casino Royale" is a well put together spoof on the very R&B Listings popular James Bond character and Astherecord buyershave stars Peter Sellers, Ursula Andress, started leaning toward R&B records, David Niven, Joanna Pettet, Orson RPM has experienced an increasing Welles, Daliah Lavi and Woody Allen, demand for an R&B listing. This week as well as many well known guest will introduce this NEW feature. It is stars. hopedthat as R&B becomes even Thedeterminingfactorin more popular, this listing will induce the popularity of the soundtrack is the sales that will make many more thefactthatthetheme "Casino singles available which are now only Royale", which was written by Burt imported at a premium price. In many Bacharach,isperformedby Herb cases the Canadian record numbers Alpert, who has made the theme a are not readily available. -
Representing Recording Studios of the Past: a Review Essay Andy
Representing Recording Studios of the Past: A Review Essay Andy Bradley and Roger Wood. 2010. House of Hits: The Story of Houston’s Gold Star/Sugarhill Recording Studios. Austin: University of Texas Press. John Hartley Fox. 2009. King of the Queen City: The Story of King Records. Urbana: University of Illinois Press Roben Jones. 2010. Memphis Boys: The Story of American Studios. Jackson: University Press of Mississippi. Reviewed by Whitney Slaten The recording studio, a site that music makers use to represent and produce sonic culture, is not merely a musical place. Recording studios are social, electronic, architectural, acoustic, and creative technologies of representa- tion. Throughout recording processes, music industries seek to mystify the functional status of the studio among consumers of pop music. This encourages alienation between consumers and producers of popular music, rendering the agency of music business interests invisible, inaudible, and transparent. Roben Jones’s Memphis Boys: The Story of American Studios, John Hartley Fox’s King of the Queen City: The Story of King Records, and Andy Bradley and Roger Wood’s House of Hits: The Story of Houston’s Gold Star/Sugarhill Recording Studios present music scholarship with three record- ing studios that significantly contributed to American popular music. These works successfully document the local and national contexts in which these studios produced, as well as many accounts of individuals who were involved in the studios and specific recording sessions; however, these are books in which the representation of recording studios weighs heavily on celebrations of illustrious music makers and the popular music they produce. -
Tony Papard Gets Confused Mr Angry Admits His Failure Ken Major Bakes
April 2019 April 108 In association with "AMERICAN MUSIC MAGAZINE" ALL ARTICLES/IMAGES ARE COPYRIGHT OF THEIR RESPECTIVE AUTHORS. FOR REPRODUCTION, PLEASE CONTACT ALAN LLOYD VIA TFTW.ORG.UK To get you in the mood for our show in June, here is a shot of Doug Kershaw from the New Orleans Jazz Festival in 2006 Our thanks to Paul Harris for always having a picture when we need it. Doug Kershaw © Paul Harris Tony Papard gets confused Mr Angry admits his failure Ken Major bakes up another dozen We “borrow” more stuff from Nick Cobban Jazz Junction, Soul Kitchen, Blues Rambling And more.... 1 2 Captain Biggles says “I've just listened to ‘Video Killed the Radio Star’ by The Buggles and my mind boggles at the advances in music since my day so HOLD THE THIRD PAGE! ” Hi Gang, What a great night we all had at Gerry’s back on 7th February, certainly the most successful yet of what are proving to be hugely popular ‘soirees’ at this long established Soho theatrical/show business watering hole, deep in the heart of Soho. Ken Major, our illustrious hard working membership secretary, coined the perfect phrase whilst enthusiastically describing the evening thus - “Heart and Soul Of Tales From The Woods” - that folks shall head all future advertising art work for what we sincerely hope will be many twice/thrice annually events. Whilst in the surrounding streets, the hoi polloi were crowding and shoving inside pubs and bars, shouting above a predictable canned soundtrack, or clung on to their glasses amongst the cacophony and pollution of the city streets outside the establishments of their choice, not for us Woodies; we were inside in comfort, recreating an age now sadly past when live music rang from countless venues in this historical, vibrant and sometimes seedy area of London.