A Wizard , a True Star: Todd Rundgren in the Studio Ebook
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Todd Rundgren to Perform at Four Winds Casinos on June 7
FOR IMMEDIATE RELEASE TODD RUNDGREN TO PERFORM AT SILVER CREEK EVENT CENTER, FOUR WINDS NEW BUFFALO, ON FRIDAY, JUNE 7 CORRECTED TICKET SALE DATE: Tickets go on sale Friday, March 29 at 10 a.m. ET NEW BUFFALO, Mich. – March 26, 2019 – The Pokagon Band of Potawatomi Indians’ Four Winds® Casinos are pleased to announce Todd Rundgren will perform at Silver Creek® Event Center on Friday, June 7, 2019 at 9 p.m. ET. Ticket prices for the show start at $29 plus applicable fees and can be purchased beginning Friday, March 29 at 10 a.m. ET by visiting FourWindsCasino.com, or by calling (800) 745-3000. Hotel rooms are available on the night of the Todd Rundgren performance and can be purchased with event tickets. As a songwriter, video pioneer, producer, recording artist, computer software developer, conceptualist, and interactive artist (re-designated TR-i), Rundgren has made a lasting impact on both the form and content of popular music. Born and raised in Philadelphia, Rundgren began playing guitar as a teenager, founded the band The Nazz, before launching a solo career. 1972's Something/Anything? prompted the press to dub him 'Rock's New Wunderkind'. It was followed by several albums and hit singles, among them I Saw The Light, Hello It's Me, Can We Still Be Friends, and Bang The Drum. As a producer, Rundgren has worked with Patti Smith, Cheap Trick, Psychedelic Furs, Meatloaf, XTC, Grand Funk Railroad, and Hall And Oates. He composed all the music and lyrics for Joe Papp's 1989 Off-Broadway production of Joe Orton's Up Against It and composed the music for a number of television series, including Pee Wee’s Playhouse and Crime Story. -
Todd Rundgren No World Order Mp3, Flac, Wma
Todd Rundgren No World Order mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Pop Album: No World Order Country: US Released: 1993 Style: Art Rock, Pop Rock, Prog Rock MP3 version RAR size: 1237 mb FLAC version RAR size: 1723 mb WMA version RAR size: 1149 mb Rating: 4.6 Votes: 799 Other Formats: TTA VOC WAV VOX MP1 VQF MMF Tracklist 1 Worldwide Epiphany 1.0 1:20 2 No World Order 1.0 0:58 3 Worldwide Epiphany 1,1 1:21 4 Day Job 1.0 4:25 5 Property 1.0 4:31 6 Fascist Christ 1.0 5:35 7 Love Thing 1.0 3:44 8 Time Stood Still 1.0 1:42 9 Proactivity 1.0 2:55 10 No World Order 1.1 6:21 11 Worldwide Epiphany 1.2 4:24 12 Time Stood Still 1.1 0:38 13 Love Thing 1.1 1:36 14 Time Stood Still 1.2 2:34 15 Word Made Flesh 1.0 4:37 16 Fever Broke 6:31 Companies, etc. Record Company – BMG Direct Marketing, Inc. – D174489 Credits Performer, Producer, Written-By – Todd Rundgren Photography By – O'Connor*, Lannen* Notes Includes leporello booklet with 16 cover variants for "No World Order". 1993 Alchemedia Productions Inc. Manufactured& Distributed By Forward, A Label of Rhino Records Inc., 10635 Santa Blvd., Los Angeles, CA 90025-4900 Manufactured for BMG Direct Marketing, Inc. under License 6550 East 30th Street, Indianapolis, Indiana 46219 Other versions Category Artist Title (Format) Label Category Country Year Todd Todd Rundgren / TR-I - R2 71266 Rundgren / No World Order (CD, Forward R2 71266 US 1993 TR-I Album) Todd Todd Rundgren / TR-I - Waking R2 71744 Rundgren / No World Order Lite Dreams Music, R2 71744 US 1994 TR-I (CD, Album) Forward Todd -
Record-Mirror-1978-1
Record Mora, December 2. 1978 Alice inside out rr ALICE COOPER: 'From The Inside' (Warner Brothers K5677) t , t- THE BAT out of hell has clipped his wings, thrown sz away his last bottle of 1 booze and vowed never to be nAughty again. s Alice was In danger of A heading for that great boogie house In the sky, after years of pickling his Si liver with alcohol. But he pulled back and went on a cure. This album Is a loose a. concept of his reflections . and hospital experiences. t Apocalyptic tracks, , -k heavy with thunderous , II guitar and keyboards. The title track is a panoramic view of being on the road and how the booze troubles started. Imagine 'School's Out' meeting a quality disco track and you'll get the 'idea of how the song on the wagon sounds. ALICE COOPER: Alice now works many assorted seventies Highlights are the primarily with Bernie albums Rundgren has cocktail - piano intro to Taupin, who hasn't lost cleverly fused mid -sixties 'never Never Land' and his talent for incisive idyllic American emotional 'The Verb To lyrics. 'The Quiet Room' melodies with various Love' but 'Hello It's Me' Is full of opposing forms of heavy - rock. comes off best with Its parallels between soul; jazz, Eastern In- archetypal chorus thoughts of home and trigue and even modern utilising the vocal talents frustration about being Instrumental pieces akin of Hall and Oates, Stevie n M locked in a padded cell. to Debussy to create a Nicks (when she's not But Cooper isn't going complete 'pop - sound with her group she's to forget about his early encyclopaedia', and alright) and Rick "weirdo" Image. -
Inside Holy Cross - Inside
Inside Holy Cross - inside VOL. XXI, NO. 86 FRIDAY, FEBRUARY 6,1987 the independent student newspaper serving Notre Dame and Saint Mary’s Three platforms to run for SMC student body offices By MARILYN BENCHIK stated, “No experience necessary,” Assistant Saint Mary’s Editor and said, “ So, we’re just going to go for it.” Canidates for Saint Mary’s student Class officer canidates also attended body offices attended the second pre the Thursday night meeting. Running election information meeting Thursday for senior class officer positions are: night. Julie Bennett, Ana Cote, Patti Petro, Election hopefuls were required to at and Lorie Potenti. Potenti said they are tend only one of the two sessions. The not yet sure who will run for which po first pre-election meeting was held sition. Wednesday night. Sandy Cerimele, “ All four of us have had experience election commissioner, and Jeanne Hel in working with student government in ler, student body president, set the the last three years, and we feel we guidelines for campaigning have a great senior class. We want to procedures. make next year the most memorable,” The three platforms, each consisting Petro said. P of three canidates for the offices of Cote added, “Our experience is one president, vice president for student af of the most im portant factors to be con fairs, and vice president for academic sidered. We’ve already learned to deal affairs, are: Ann Rucker, Ann Reilly, with students’ problems and the issues and Ann Eckhoff; Sarah Cook, Janel which may arise.” Hamann, and Jill Hinterhalter; Eileen Canidates for the junior class posi Hetterich, Smith Hashagen, and Julie tions of president, vice president, sec Parrish. -
Art to Commerce: the Trajectory of Popular Music Criticism
Art to Commerce: The Trajectory of Popular Music Criticism Thomas Conner and Steve Jones University of Illinois at Chicago [email protected] / [email protected] Abstract This article reports the results of a content and textual analysis of popular music criticism from the 1960s to the 2000s to discern the extent to which criticism has shifted focus from matters of music to matters of business. In part, we believe such a shift to be due likely to increased awareness among journalists and fans of the industrial nature of popular music production, distribution and consumption, and to the disruption of the music industry that began in the late 1990s with the widespread use of the Internet for file sharing. Searching and sorting the Rock’s Backpages database of over 22,000 pieces of music journalism for keywords associated with the business, economics and commercial aspects of popular music, we found several periods during which popular music criticism’s focus on business-related concerns seemed to have increased. The article discusses possible reasons for the increases as well as methods for analyzing a large corpus of popular music criticism texts. Keywords: music journalism, popular music criticism, rock criticism, Rock’s Backpages Though scant scholarship directly addresses this subject, music journalists and bloggers have identified a trend in recent years toward commerce-specific framing when writing about artists, recording and performance. Most music journalists, according to Willoughby (2011), “are writing quasi shareholder reports that chart the movements of artists’ commercial careers” instead of artistic criticism. While there may be many reasons for such a trend, such as the Internet’s rise to prominence not only as a medium for distribution of music but also as a medium for distribution of information about music, might it be possible to discern such a trend? Our goal with the research reported here was an attempt to empirically determine whether such a trend exists and, if so, the extent to which it does. -
The Age of Bowie 1St Edition Pdf, Epub, Ebook
THE AGE OF BOWIE 1ST EDITION PDF, EPUB, EBOOK Paul Morley | 9781501151170 | | | | | The Age of Bowie 1st edition PDF Book His new manager, Ralph Horton, later instrumental in his transition to solo artist soon witnessed Bowie's move to yet another group, the Buzz, yielding the singer's fifth unsuccessful single release, " Do Anything You Say ". Now, Morley has published his personal account of the life, musical influence and cultural impact of his teenage hero, exploring Bowie's constant reinvention of himself and his music over a period of five extraordinarily innovative decades. I think Britain could benefit from a fascist leader. After completing Low and "Heroes" , Bowie spent much of on the Isolar II world tour , bringing the music of the first two Berlin Trilogy albums to almost a million people during 70 concerts in 12 countries. Matthew McConaughey immediately knew wife Camila was 'something special'. Did I learn anything new? Reuse this content. Studying avant- garde theatre and mime under Lindsay Kemp, he was given the role of Cloud in Kemp's theatrical production Pierrot in Turquoise later made into the television film The Looking Glass Murders. Hachette UK. Time Warner. Retrieved 4 October About The Book. The line-up was completed by Tony and Hunt Sales , whom Bowie had known since the late s for their contribution, on bass and drums respectively, to Iggy Pop's album Lust for Life. The Sydney Morning Herald. Morely overwrites, taking a significant chunk of the book's opening to beat Bowie's death to death, the takes the next three-quarters of the book to get us through the mid-Sixties to the end of the Seventies, then a ridiculously few yet somehow still overwritten pages to blast through the Eighties, Nineties, and right up to Blackstar and around to his death again. -
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. -
Dave Hartl's 2017 Top Ten (Or So) Most Influential Albums
Dave Hartl’s 2017 Top Ten (Or So) Most Influential Albums It’s time once again to look back and do that annual tradition of picking out the 10 or so most influential albums I heard in the past year. Not the most popular, or even the best, but what made me think the most as a musician. You can always go to http://www.davehartl.com/top10.html and look at other years’ postings. The links there go all the way back to 1998, when I started this with George Tucker. It’s a way of hearing about great music you might otherwise miss. If you want to contribute, please write to [email protected] with your own list and your contribution will be added to this document online for future downloads. This is why I do this! It always gives me some great recommendations for what to listen to that would be off my radar otherwise. So don’t be shy! Last year, Brian Groder, Jack Loughhead, and Kaz Yoshihara gave me some great things to listen to. 1.) John McLaughlin & the 4th Dimension: Live at Ronnie Scott’s 2017 saw the farewell American tour of the great guitarist John McLaughlin, who joined up with fellow guitarist Jimmy Herring for an unbelievable 3-set night concluding with pieces from his old Mahavishnu Orchestra days (you can see an entire concert at https://www.youtube.com/watch?v=ZPWa9F4UBQQ&t=19s, highly recommended!). This CD was recorded in London with McLaughlin’s working band of the last decade, the 4th Dimension, about 7 months ahead of the aforementioned American tour, but it shows a microcosm of that concept, opening with 1971’s Meeting of the Spirits and working through pieces showcasing the amazing drummer Ranjit Barot and his Indian classical influences, bassist Etienne M’Bappé’s multilevel constructions, and Gary Husband’s otherworldly synth textures, blowout chops, and energetic drumming. -
Starland Vocal Band
Wk 28 – 1976 July 10 – USA Top 100 1 2 10 AFTERNOON DELIGHT Starland Vocal Band 2 9 13 KISS AND SAY GOODBYE Manhattans 3 8 11 I'LL BE GOOD TO YOU Brothers Johnson 4 5 11 SHOP AROUND Captain & Tennille 5 6 18 MORE MORE MORE Andrea True Connection 6 1 14 SILLY LOVE SONGS Wings 7 3 17 MISTY BLUE Dorothy Moore 8 10 13 LOVE IS ALIVE Gary Wright 9 4 24 SARA SMILE Hall and Oates 10 12 5 GOT TO GET YOU INTO MY LIFE Beatles 11 11 11 NEVER GONNA FALL IN LOVE AGAIN Eric Carmen 12 13 11 LET HER IN John Travolta 13 14 13 MOONLIGHT FEELS RIGHT Starbuck 14 15 10 TAKE THE MONEY AND RUN Steve Miller Band 15 16 6 ROCK & ROLL MUSIC Beach Boys 16 17 9 THE BOYS ARE BACK IN TOWN Thin Lizzy 17 19 4 IF YOU KNOW WHAT I MEAN Neil Diamond 18 20 13 GET CLOSER Seals and Crofts 19 7 18 GET UP AND BOOGIE Silver Convention 20 21 8 YOU'RE MY BEST FRIEND Queen 21 18 15 LOVE HANGOVER Diana Ross 22 26 14 TURN THE BEAT AROUND Vicki Sue Robinson 23 24 9 TODAY'S THE DAY America 24 27 9 TEAR THE ROOF OFF THE SUCKER Parliament 25 25 10 MAKING OUR DREAMS COME TRUE Cyndi Grecco 26 30 10 I'M EASY Keith Carradine 27 28 10 SAVE YOUR KISSES FOR ME Brotherhood Of Man 28 31 5 LAST CHILD Aerosmith 29 38 5 I NEED TO BE IN LOVE Carpenters 30 37 7 YOUNG HEARTS RUN FREE Candi Staton 31 36 7 SOPHISTICATED LADY Natalie Cole 32 32 8 MAMMA MIA Abba 33 33 6 SOMEBODY'S GETTIN' IT Johnnie Taylor 34 35 6 GOOD VIBRATIONS Todd Rundgren 35 43 5 SOMETHING HE CAN FEEL Aretha Franklin 36 40 7 A FIFTH OF BEETHOVEN Walter Murphy 37 42 6 YOU'LL NEVER FIND ANOTHER LOVE LIKE MINE Lou Rawls 38 39 7 SILVER STAR -
Alice Cooper 2011.Pdf
® • • • I ’ M - I N - T HE - MIDDLE-WIT HOUT ANT PLANS - I’M A BOY AND I’M-A MAN - I.’ M EIGHTEEN- - ® w Q < o ¡a 2 Ó z s * Tt > o ALICE M > z o g «< COOPER s [ BY BRAD T O L I N S K I ] y a n y standards, short years before, in 1967, Alice Cooper 1973 was an had been scorned as “the most hated exceptional year band” in Los Angeles. The group members for rock & roll. weirded out the locals by being the first Its twelve months hoys that weren’t transvestites to dress as saw the release girls, and their wildly dissonant, fuzzed- of such gems as out psychedelia sent even the most liberal Pink Floyd s The Dark Side of the Moon, hippies fleeing for the door. Any rational H H Led Zeppelin s Houses of the Holy, the human would have said they were 0 o W ho’s Quadrophenia, Stevie Wonders committing professional suicide, but z Innervisions, Elton Johns Goodbye Yellow the band members thought otherwise. Brick Road, and debuts from Lynyrd Who cared if a bunch o f Hollywood squares Skynyrd, Aerosmith, Queen, and the New thought they were gay? At least they Y ork D olls. were being noticed. But the most T H E BAND Every time they provocative and heard somebody audacious treasure G R A B B E D y e ll “faggot;” they of that banner year H EA D LIN ES AND swished more, and was Alice Coopers overnight they found £ o masterpiece, B illio n MADE WAVES fame as the group z w Dollar Babies, a it was hip to hate H m brilliant lampoon of American excess. -
BOBBY CHARLES LYRICS Compiled by Robin Dunn & Chrissie Van Varik
BOBBY CHARLES LYRICS Compiled by Robin Dunn & Chrissie van Varik. Bobby Charles was born Robert Charles Guidry on 21st February 1938 in Abbeville, Louisiana. A native Cajun himself, he recalled that his life “changed for ever” when he re-tuned his parents’ radio set from a local Cajun station to one playing records by Fats Domino. Most successful as a songwriter, he is regarded as one of the founding fathers of swamp pop. His own vocal style was laidback and drawling. His biggest successes were songs other artists covered, such as ‘See You Later Alligator’ by Bill Haley & His Comets; ‘Walking To New Orleans’ by Fats Domino - with whom he recorded a duet of the same song in the 1990s - and ‘(I Don’t Know Why) But I Do’ by Clarence “Frogman” Henry. It allowed him to live off the song-writing royalties for the rest of his life! No albums were by him released in this period. Two other well-known compositions are ‘The Jealous Kind’, recorded by Joe Cocker, and ‘Tennessee Blues’ by Kris. Disenchanted with the music business, Bobby disappeared from the music scene in the mid-1960s but returned in 1972 with a self-titled album on the Bearsville label on which he was accompanied by Rick Danko and several other members of the Band and Dr John. Bobby later made a rare live appearance as a guest singer on stage at The Last Waltz, the 1976 farewell concert of the Band, although his contribution was cut from Martin Scorsese’s film of the event. Bobby Charles returned to the studio in later years, recording a European-only album called Clean Water in 1987. -
Modern Records Began with the Exclusive Signing of Stevie Nicks in the Fall of 1978
ft I RflMHbBRI HES8RBS TITLE. Modern 0 2 W. 45 St., New York, New York 10036 (212) 840-6011 SUBJECT: oo if>^Q* t 1438 N. Gower, #9, L.A., Ca. 90028 (213) 465-5144 Records UJ t • Modern Records began with the exclusive signing of Stevie Nicks in the fall of 1978. Modern then signed its distribution deal with Atlantic in June of 1979. While Stevie was com- pleting her recording and touring obligations to Fleetwood Mac, two other acts were signed to the label, Joey Wilson and Jah Malla. When their albums proved not to be successful, in Danny's words, "We changed our game plan. We looked at our bottom line and tried to project our future bottom line and decided that, for the time being, what we had to do was concentrate solely on Stevie. I mean the difference between selling 1 million or 2 million albums on a superstar makes a good deal more sense than 20,000 or 60,000 on a new act. While we both love the creative as- pects of breaking new acts, we want to stay in business first." Based on this philosophy, Paul and Danny decided to put all their efforts into maximizing the career of their only artist, Stevie Nicks. They were intimately involved in everything from introducing her to her producer, Jimmy lovine, imput on arrangements and material, introducing her to Tom Petty etc. The "Bella Donna" album was released in the summer of '81 with the single "Stop Draggin' My Heart Around" out about two weeks prior ro the LP.