Gong Shamal Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Gong Shamal mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Shamal Country: Netherlands Released: 1975 Style: Fusion, Jazz-Rock MP3 version RAR size: 1746 mb FLAC version RAR size: 1100 mb WMA version RAR size: 1677 mb Rating: 4.3 Votes: 778 Other Formats: MP4 MP2 AAC MPC TTA AU AUD Tracklist Hide Credits Wingful Of Eyes A1 8:19 Electric Guitar, Acoustic Guitar – Steve HillageWritten-By – Howlett* Chandra A2 7:16 Lyrics By – Howlett*Music By – Lemoine*Violin – Jorge Pinchevsky Bambooji A3 Electric Guitar, Acoustic Guitar – Steve HillageViolin – Jorge PinchevskyVocals – Miquette 5:21 GiraudyWritten-By – Malherbe* Cat In Clark's Shoes B1 7:45 Violin – Jorge PinchevskyWritten-By – Malherbe*, Howlett*, Lemoine* Mandrake B2 5:07 Written-By – Moerlen* Shamal B3 Violin – Jorge PinchevskyVocals – Sandy ColleyWritten-By – Malherbe*, Howlett*, Bauer*, 8:58 Lemoine*, Moerlen* Credits Artwork – Mustard Bass Guitar, Vocals – Mike Howlett Design [Cover], Photography By – Clive Arrowsmith Drums, Vibraphone, Bells [Tubular] – Pierre Moerlen Engineer – Ben King Engineer [Mix] – Rick Curtain Lighting [Lights] – Wiz De Courbe Marimba, Percussion [Assorted], Glockenspiel, Xylophone, Gong – Mireille Bauer Piano, Organ, Synthesizer [Mini-moog] – Patrice Lemoine Producer – Nick Mason Technician [Live Sounds] – Cedric Beatty Technician [Stage Sound] – George McQuade Tenor Saxophone, Soprano Saxophone, Flute [Bamboo, C&g Flutes], Gong – Didier "Bloom" Malherbe* Notes Recorded at Basing Street Studios, London and at Olympic Studios, London Mixed at Sarm Studios, London © 1975 Virgin Music (Publishers) ltd. ℗ 1975 Virgin Records Ltd. Ariola-Eurodisc Benelux B. V. Barcode and Other Identifiers Matrix / Runout (Side A - Etched): 27048-A H Matrix / Runout (Side B - Etched): 27048-B H Other versions Category Artist Title (Format) Label Category Country Year Virgin, V 2046, V2046 Gong Shamal (LP, Album) V 2046, V2046 UK 1975 Virgin Virgin, V 2046, V2046, Shamal (LP, Album, V 2046, V2046, Gong Virgin, UK Unknown 27 048 XOT RP, Gat) 27 048 XOT Virgin 940 521, XBLY Shamal (LP, Album, Virgin, 940 521, XBLY Gong France 1975 940521 Gat) Virgin 940521 Shamal (LP, Album, 27048 Gong Virgin 27048 Germany 1975 Gat) Shamal (LP, Album, 70028 Gong Virgin 70028 France 1984 RE) Comments about Shamal - Gong Winawel this album is a work of immense beauty and power if you can get past the vocal parts , mireille bauer steals the show here .i played this album for the first time last night and found myself playing it for hours at a time.it;s safe to say this is my favourite pierre moerlin gong album so far with "gazeuse" coming in second .can't wait to further explore the moerlin gong albums. Related Music albums to Shamal by Gong 1. Jean-Louis Le Canu - Allez Malherbe 2. Bensusan & Malherbe - Live Au New Morning 3. Pierre Moerlen's Gong - Downwind 4. Jorge Ben - Os Grandes Sucessos De Jorge Ben 5. Gong - Pre-Modernist Wireless: The Peel Sessions 6. Gong - Live Etc. 7. Jorge Ben - Acústico MTV, Jorge Ben Jor- Admiral Jorge V 8. Gong - Gazeuse! 9. Strontium 90 - Police Academy 10. Tribute - Breaking Barriers.

Copy Link

Recommended publications

Bibliografia Canterbury Ridotta
Presentazione La scena di Canterbury fu un movimento musicale che si sviluppò tra la fine degli anni Sessanta e la meta dei Settanta nell’omonima cittadina del Kent. Anche se furono molti i gruppi che la composero – alcuni dei quali ancora oggi leggendari come i Soft Machine, i Caravan o i Matching Mole - il numero dei musicisti coinvolti fu sempre molto ridotto, favorendo così un rapporto osmotico tra le varie band anche nelle scelte musicali intraprese. Ciò che caratterizzò la Scena fu infatti una comune idea di arte che possiamo definire – citando Marcus O’Dair, autore della recente biografia di Wyatt – come “un certo stile rock psichedelico venato di jazz, pastorale, very english… con tempi complessi, una preferenza di tastiere rispetto alle chitarre e un modo di cantare convintamente radicato nell’East Kent, là dove i cantanti dell’epoca posavano tutti da Delta bluesman”. Nata con l’album Soft Machine (1968) e conclusa da Rock Bottom (1974) – nonostante i successivi epigoni - la Scena di Canterbury fu sicuramente il momento più alto di tutto il genere Progressive e uno dei movimenti musicali più innovativi (e altrettanto ostici) di tutto il rock. Riascoltato oggi può apparire troppo contorto e scarsamente fruibile, persino nelle sue espressioni più “pop” quali i dischi di Kevin Ayers o dei Caravan, ma in realtà è ancora un’esperienza unica ed entusiasmante per tutti gli ascoltatori disposti a superare le barriere e i tabù che troppo spesso caratterizzano il mondo della musica popolare. Aprile - Maggio 2015 Discografia: Guida all’ascolto Soft machine - Soft machine (1968) Una premessa importante: la Scena di Canterbury fu per sei Soft machine – Two (1969) entusiasmanti anni il fulcro della musica d’avanguardia inglese, Soft machine – Third (1970) proponendo opere spesso di non semplice fruizione che richiedono più Soft machine – Fourth (1971) di un ascolto per essere godute pienamente.
[Show full text]
Allan Holdsworth R.I.P. 1946 - 2017
ALLAN HOLDSWORTH R.I.P. 1946 - 2017 Progressive rock and jazz fusion guitar pioneer Allan Holdsworth, who Eddie Van Halen called “the best, in my book,” has died on April 16, 2017 of unknown causes. He was 70. Holdsworth’s daughter Louise confirmed the news on Facebook, saying “it is with heavy hearts that we notify everyone of the passing of our beloved father. We would appreciate privacy and time while we grieve the loss of our dad, grandad, friend and musical genius. We will update close friends and family when service arrangements have been made and will notify the public of an open memorial service, which all would be welcome. We are undeniably still in shock with his unexpected death and cannot begin to put into words the overwhelming sadness we are experiencing. He is missed tremendously.” Holdsworth first appeared on a record in 1969 with the group ‘Igginbottom. After ’70s stints in groundbreaking progressive rock and jazz fusion acts such as Soft Machine, the New Tony Williams Lifetime, Pierre Moerlen’s Gong, Bruford and UK, he released his first official solo album, I.O.U., in 1982. + + + + + Thanks to glasnostrd19 for sharing the show at The Traders’ Den. glasnostrd19 noted: This may be the most widely circulated Holdsworth show out there (other than with UK in 1978)... I don’t know how circulated this is directly from the master tape, and this is probably as good as it’s ever been circulated. I’m pretty sure this is the full show from Reseda. The last song was tacked on the same tape as “filler” (and it is a pretty cool jam and nice audience recording) so I left it in here.
[Show full text]
The Record Producer As Nexus: Creative Inspiration, Technology and the Recording Industry
The Record Producer as Nexus: Creative Inspiration, Technology and the Recording Industry A submission presented in partial fulfilment of the requirements of the University of Glamorgan/Prifysgol Morgannwg for the degree of Doctor of Philosophy by Michael John Gilmour Howlett April 2009 ii I certify that the work presented in this dissertation is my own, and has not been presented, or is currently submitted, in candidature for any degree at any other University: _____________________________________________________________ Michael Howlett iii The Record Producer as Nexus: Creative Inspiration, Technology and the Recording Industry Abstract What is a record producer? There is a degree of mystery and uncertainty about just what goes on behind the studio door. Some producers are seen as Svengali- like figures manipulating artists into mass consumer product. Producers are sometimes seen as mere technicians whose job is simply to set up a few microphones and press the record button. Close examination of the recording process will show how far this is from a complete picture. Artists are special—they come with an inspiration, and a talent, but also with a variety of complications, and in many ways a recording studio can seem the least likely place for creative expression and for an affective performance to happen. The task of the record producer is to engage with these artists and their songs and turn these potentials into form through the technology of the recording studio. The purpose of the exercise is to disseminate this fixed form to an imagined audience—generally in the hope that this audience will prove to be real.
[Show full text]
Steve Hillage Green Mp3, Flac, Wma
Steve Hillage Green mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Rock Album: Green Country: France Released: 1978 Style: Psychedelic Rock, Prog Rock, Ambient MP3 version RAR size: 1261 mb FLAC version RAR size: 1241 mb WMA version RAR size: 1618 mb Rating: 4.8 Votes: 516 Other Formats: MPC WMA DTS AC3 MIDI MP3 AAC Tracklist Hide Credits 1 Sea Nature Ether Ships 2 Drums – Andy Anderson 3 Musik Of The Trees 4 Palm Trees (Love Guitar) Unidentified (Flying Being) 5 Written-By – Curtis Robertson, Miquette Giraudy, Steve Hillage U.F.O. Over Paris 6 Written-By – Charles Bynum, Curtis Robertson, Joe Blocker, Miquette Giraudy, Steve Hillage 7 Leylines To Glassdom 8 Crystal City 9 Activation Meditation The Glorious Om Riff 10 Written-By – C.O.I.T.*, Hillage* Bonus Tracks Unidentified (Flying Being) (Live At Glastonbury 1979) Bass – Paul FrancisDrums – Andy AndersonGuitar, Synthesizer, Voice – Steve 11 HillageRhythm Guitar, Guitar [Glissando] – Dave Stewart Synthesizer, Voice – Miquette GiraudyWritten-By – Curtis Robertson, Miquette Giraudy, Steve Hillage Not Fade Away (Glid Forever) (Live At The Rainbow Theatre 1977) Bass – Colin BassDrums – Clive BunkerGuitar, Voice – Steve HillageKeyboards – Phil 12 HodgeRhythm Guitar, Guitar [Glissando] – Christian Boule*Synthesizer – Basil BrooksSynthesizer, Voice – Miquette GiraudyWritten-By – Charles Hardin, Norman Petty Octave Doctors (Live At Glastonbury 1979) Bass – Paul FrancisDrums – Andy AndersonGuitar, Synthesizer, Voice – Steve 13 HillageRhythm Guitar, Guitar [Glissando] – Dave Stewart
[Show full text]
2 to Be Somebody: Ambition and the Desire to Be Different
2 To Be Somebody: Ambition and the Desire to Be Different The context for difference This chapter aims to identify some of the bands that enjoyed chart success during the late 1970s and ’80s and identify their artistic traits by means of conversations with band members and those close to the bands. This chapter does not claim to be a definitive account or an inclusive list of innovative bands but merely a viewpoint from some of the individuals who were present at the time and involved in music, creativity and youth culture. Some of these individuals were in the eye of the storm while others were more on the periphery. However, common themes emerge and testify to the Scouse resilience identified in the previous chapter. Also, identifying objective truth is a difficult task, as one band member will often have a view of his band’s history that conflicts with that of other members of the same band. As such, it is acknowledged that this chapter presents only selective viewpoints. Trying something new: In what ways were the Liverpool bands creative and different? ‘Liverpool has always made me brave, choice-wise. It was never a city that criticized anyone for taking a chance.’ David Morrissey1 In terms of creativity, the theory underpinning this book which was stated in Chapter 1 is that successful Liverpool bands in the 1980s were different from each other and did not attempt to follow the latest local or national pop music trends. None of the bands interviewed falls into the categories of punk, disco or New Romantic, which were popular trends at the time.
[Show full text]
Tim Blake Interview EXCLUSIVE: Joey Molland Remembers the Glory Days
EXCLUSIVE: Tim Blake Interview EXCLUSIVE: Joey Molland remembers the glory days of Apple EXCLUSIVE: Cyrille Verdeaux and the Amazonian chieftain EXCLUSIVE: Behind the scenes of the Psychedelic Warlords EXCLUSIVE: The naked performance artist takes on Paypal. Will she win? We certainly hope so. 2 magazine, which would cover the music and culture (and the attendant lifestyle and politics) that interested me, and I realised then that now I was being given the chance. As I have always admitted, I am growing up in public and that I have no real long term plan with any of the things that I do, except to seize the opportunities that I can, and basically make it up as I go along, going in whatever direction the Fates send me. Which is basically how I live my life. So this new advancement is allowing me to produce something that is far more like a magazine than it was before. I am very much an old fashioned sort of fellow, and don’t really like many new fangled things. E-books are a particular gripe of mine—I have an e-book reader (mainly because they were incredibly cheap at Asda) and I use it mostly for reading pdfs of technical journals in bed, or reading So welcome to the first issue of the new look Gonzo P.G. Wodehouse novels whilst I am travelling Weekly. somewhere, but for me at least the e-book has only a very limited appeal. I am always amazed at how fast technology advances and how we can all do things now that E-magazines, however, are an entirely different would have been unthinkable even five years ago.
[Show full text]
Section III - Acknowledgements
Section III - Acknowledgements Mike Berger TPWD Wildlife Division Director Larry McKinney TPWD Coastal Fisheries Director Phil Durocher TPWD Inland Fisheries Director Lydia Saldana TPWD Communications Division Director TPWD Program Director, Science Research and Diversity Program - Ron George Wildlife Division (Retired) Technical Assistance Andy Price Texas Parks and Wildlife - Wildlife Division Bob Gottfried Texas Parks and Wildlife - Wildlife Division Cliff Shackelford Texas Parks and Wildlife - Wildlife Division Duane Schlitter Texas Parks and Wildlife - Wildlife Division Gary Garrett Texas Parks and Wildlife - Inland Fisheries Division John Young Texas Parks and Wildlife - Wildlife Division Mike Quinn Texas Parks and Wildlife - Wildlife Division Paul Hammerschmidt Texas Parks and Wildlife - Coastal Fisheries Division (Retired) Wildlife Diversity Policy Advisory Committee Terry Austin (chair) Audubon Texas (retired) Damon Waitt Brown Center for Environmental Education - Lady Bird Johnson Wildflower Center David Wolfe Environmental Defense Don Petty Texas Farm Bureau Doug Slack Texas A & M University, Department of Wildlife & Fisheries Sciences Evelyn Merz Lone Star Chapter of the Sierra Club Jack King Sportsmen’s Conservationists of Texas Jennifer Walker Lone Star Chapter of the Sierra Club Jim Bergan The Nature Conservancy of Texas Jim Foster Trans-Texas, Davis Mountain and Hill Country Heritage Association Kirby Brown Texas Wildlife Association Matt Brockman Texas and Southwestern Cattleraisers Association Mike McMurry Texas Department of Agriculture Phil Sudman Texas Society of Mammalogists Richard Egg Texas Soil and Water Conservation Board Susan Kaderka National Wildlife Federation, Gulf States Field Office Ted Eubanks Fermata, Inc. Troy Hibbitts Texas Herpetological Society Wallace Rogers TPWD Private Lands Advisory Board Comprehensive Wildlife Conservation Strategy Working Groups Aquatic Working Group Gary Garrett (chair) Texas Parks and Wildlife Department Paul Hammerschmidt (chair) Texas Parks and Wildlife Department 578 Carrie Thompson U.S.
[Show full text]
AUGUST 1984 LH: I Wanted to Sit In, If Conway Would Let Me
VOL. 8, NO. 8 Cover Photo by Robert Herman FEATURES LEVON HELM During the late '60s and early '70s, Bob Dylan and The Band were musically a winning combination, due in part to the drumming and singing talents of Levon Helm. The Band went on to record many classics until their breakup in 1976. Here, Levon discusses his background, his work with Dylan and The Band, and the various projects he has been involved with during the past few years. by Robyn Flans 8 THOMMY PRICE Price, one of the hottest new drummers on the scene today, is cur- rently the power behind Billy Idol. Before joining Idol, Thommy Carneau had a five-year gig with Mink DeVille, followed by a year with Fred Scandal. In this interview, Thommy reveals the responsibilities of by working with a top act, his experiences with music video, and how Photo the rock 'n' roll life-style is not all glamour. by Connie Fisher 14 BOB MOSES Bob Moses is truly an original personality in the music world. Although he is known primarily in the jazz idiom for his masterful drumming, he is also an active composer and artist. He talks about his influences, his technique, and the philosophies behind his Jachles various forms of self-expression. by Chip Stern 18 Michael by DRUMMING IN ATLANTIC CITY Photo by Rick Van Horn 22 Malkin WILL DOWER Rick Australian Sessionman by by Rick Van Horn 24 Photo CLUB SCENE ON THE MOVE COLUMNS Attention To Detail James D. Miller and Bob Pignatiello. 78 by Rick Van Horn 90 IN THE STUDIO EDUCATION DRUM SOLOIST Jim Plank CONCEPTS Philly Joe Jones: "Lazy Bird" by Ted Dyer 84 Drummers And Put-Downs by Dan Tomlinson 96 by Roy Burns 28 REVIEWS EQUIPMENT LISTENER'S GUIDE ON TRACK 46 by Peter Erskine and Denny Carmassi 30 PRODUCT CLOSE-UP NEWS ROCK PERSPECTIVES Remo PTS Update Beat Study #13 by Bob Saydlowski, Jr.
[Show full text]
Plattenbörsen 2005
2 Oldie Markt 08/05 Schallplattenbörsen Plattenbörsen 2005 Schallplattenbörsen sind seit einigen Jahren fester Bestandteil der europäischen Musikszene. Steigende Besucherzahlen zeigen, daß sie längst nicht mehr nur eventuell Platz für Tummelplatz für Insider sind. Neben teuren Raritäten bieten die Händler günstige Second-Hand-Platten, Fachzeitschriften, Anzeige oder Bücher Lexika, Poster und Zubehör an. Rund 250 Börsen finden pro Jahr allein in Bild wird von geliefertem der Bundesrepublik statt. Oldie-Markt veröffentlicht als einzige deutsche Zeit- Film einmontiert! schrift monatlich den aktuellen Börsen- kalender. Folgende Termine wurden von den Veranstaltern bekanntgegeben: Datum Stadt/Land Veranstaltungs-Ort Veranstalter / Telefon 28. Juli Berlin Statthaus Böcklerpark Kurt Wehrs ¤ (030) 67 77 62 42 28. August Leipzig Uni Mensa First & Last ¤ (03 41) 699 56 80 29. August Berlin Velodrom First & Last ¤ (03 41) 699 56 80 3. September Hamburg Uni Mensa WIR ¤ (0 51 75) 92 23 59 4. September Bielefeld Spinnerei Ravensberg WIR ¤ (0 51 75) 92 23 59 10. September Bremen Konsul Hackfeld Haus WIR ¤ (0 51 75) 92 23 59 11. September Cottbus Stadthalle First & Last ¤ (03 41) 699 56 80 11. September Köln Tanzbrunnen Wolfgang W. Korte ¤ (061 01) 12 86 62 11. September Braunschweig Mensa 2 WIR ¤ (0 51 75) 92 23 59 12. September Plauen Festhalle First & Last ¤ (03 41) 699 56 80 17. September Erfurt Thüringerhalle Iris Lange ¤ (056 59) 73 24 18. September Frankfurt/Main Jahrhunderthalle Wolfgang W. Korte ¤ (061 01) 12 86 62 18. September Chemnitz Stadthalle Iris Lange ¤ (056 59) 73 24 25. September Essen Grugahalle First & Last ¤ (03 41) 699 56 80 25.
[Show full text]
Sadler's Wells Theatre, London, England (FM)[MP3-320];124 514 KB
10,000 Maniacs;1988-07-31;Sadler's Wells Theatre, London, England (FM)[MP3-320];124 514 KB 10,000 Maniacs;Eden's Children, The Greek Theatre, Los Angeles, California, USA (SBD)[MP3-224];150 577 KB 10.000 Maniacs;1993-02-17;Berkeley Community Theater, Berkeley, CA (SBD)[FLAC];550 167 KB 10cc;1983-09-30;Ahoy Rotterdam, The Netherlands [FLAC];398 014 KB 10cc;2015-01-24;Billboard Live Tokyo, Tokyo, Japan [MP3-320];173 461 KB 10cc;2015-02-17;Cardiff, Wales (AUD)[FLAC];666 150 KB 16 Horsepower;1998-10-17;Congresgebow, The Hague, Netherlands (AUD)[FLAC];371 885 KB 16 Horsepower;2000-03-23;Eindhoven, Netherlands (Songhunter)[FLAC];514 685 KB 16 Horsepower;2000-07-31;Exzellenzhaus, Sommerbühne, Germany (AUD)[FLAC];477 506 KB 16 Horsepower;2000-08-02;Centralstation, Darmstadt, Germany (SBD)[FLAC];435 646 KB 1975, The;2013-09-08;iTunes Festival, London, England (SBD)[MP3-320];96 369 KB 1975, The;2014-04-13;Coachella Valley Music & Arts Festival (SBD)[MP3-320];104 245 KB 1984;(Brian May)[MP3-320];80 253 KB 2 Live Crew;1990-11-17;The Vertigo, Los Angeles, CA (AUD)[MP3-192];79 191 KB 21ST CENTURY SCHIZOID BAND;21st Century Schizoid Band;2002-10-01;Queen Elizabeth Hall, London, England [FLAC];619 21ST CENTURY SCHIZOID BAND;21st Century Schizoid Band;2004-04-29;The Key Club, Hollywood, CA [MP3-192];174 650 KB 2wo;1998-05-23;Float Right Park, Sommerset, WI;Live Piggyride (SBD)(DVD Audio Rip)[MP3-320];80 795 KB 3 Days Grace;2010-05-22;Crew Stadium , Rock On The Range, Columbus, Ohio, USA [MP3-192];87 645 KB 311;1996-05-26;Millenium Center, Winston-Salem,
[Show full text]
Connector Guide for Webex
Oracle® Identity Manager Connector Guide for WebEx Release 11.1.1 E79077-02 May 2020 Oracle Identity Manager Connector Guide for WebEx, Release 11.1.1 E79077-02 Copyright © 2016, 2020, Oracle and/or its affiliates. Primary Author: Gowri GR Contributors: Mike Howlett This software and related documentation are provided under a license agreement containing restrictions on use and disclosure and are protected by intellectual property laws. Except as expressly permitted in your license agreement or allowed by law, you may not use, copy, reproduce, translate, broadcast, modify, license, transmit, distribute, exhibit, perform, publish, or display any part, in any form, or by any means. Reverse engineering, disassembly, or decompilation of this software, unless required by law for interoperability, is prohibited. The information contained herein is subject to change without notice and is not warranted to be error-free. If you find any errors, please report them to us in writing. If this is software or related documentation that is delivered to the U.S. Government or anyone licensing it on behalf of the U.S. Government, then the following notice is applicable: U.S. GOVERNMENT END USERS: Oracle programs (including any operating system, integrated software, any programs embedded, installed or activated on delivered hardware, and modifications of such programs) and Oracle computer documentation or other Oracle data delivered to or accessed by U.S. Government end users are "commercial computer software" or “commercial computer software documentation”
[Show full text]
Interview with Stephen Schnorf # ISG-A-L-2010-018 Interview # 1: February 23, 2010 Interviewer: Mike Czaplicki – ALPL Oral History Program
Interview with Stephen Schnorf # ISG-A-L-2010-018 Interview # 1: February 23, 2010 Interviewer: Mike Czaplicki – ALPL Oral History Program COPYRIGHT The following material can be used for educational and other non-commercial purposes without the written permission of the Abraham Lincoln Presidential Library. “Fair use” criteria of Section 107 of the Copyright Act of 1976 must be followed. These materials are not to be deposited in other repositories, nor used for resale or commercial purposes without the authorization from the Audio-Visual Curator at the Abraham Lincoln Presidential Library, 112 N. 6th Street, Springfield, Illinois 62701. Telephone (217) 785-7955 Note to the Reader: Readers of the oral history memoir should bear in mind that this is a transcript of the spoken word, and that the interviewer, interviewee and editor sought to preserve the informal, conversational style that is inherent in such historical sources. The Abraham Lincoln Presidential Library is not responsible for the factual accuracy of the memoir, nor for the views expressed therein. We leave these for the reader to judge. Czaplicki: Today is Tuesday, February 23, 2010. My name is Mike Czaplicki. I work at the Abraham Lincoln Presidential Library in Springfield, Illinois, and I’m here at the Library today with Stephen Schnorf. How are you Steve? Schnorf: Fine, thank you Mike. Czaplicki: He has agreed to sit down as part of the Governor Jim Edgar oral history project and talk about growing up, his early years, and then his career in the administration of Governor Edgar. I guess we will begin at the beginning; where and when were you born? Schnorf: I was born in 1944 in Charleston, Illinois.
[Show full text]