DOCSLIB.ORG

Satan's Beach Surf Them Webs 666 Shawn Burkard [email protected]

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Satan's Beach Surf Them Webs 666 Shawn Burkard Shawnburkard@Wustl.Edu Washington University in St. Louis Washington University Open Scholarship Graduate School of Art Theses Graduate School of Art Spring 5-9-2017 Satan's Beach Surf Them Webs 666 Shawn Burkard [email protected] Follow this and additional works at: https://openscholarship.wustl.edu/samfox_art_etds Part of the Art and Design Commons Recommended Citation Burkard, Shawn, "Satan's Beach Surf Them Webs 666" (2017). Graduate School of Art Theses. ETD 84. https://doi.org/10.7936/ K7794342. This Thesis is brought to you for free and open access by the Graduate School of Art at Washington University Open Scholarship. It has been accepted for inclusion in Graduate School of Art Theses by an authorized administrator of Washington University Open Scholarship. For more information, please contact [email protected]. Washington University in St. Louis Graduate School of Art Satan’s Beach: Surf Them Webs 666 Shawn Burkard A Thesis presented to the Sam Fox School of Design and Visual Arts of Washington University in St. Louis in partial fulfillment of the requirements for the degree of Master of Fine Art Program Director Patricia Olynyk Graduate Committee Thesis Advisor | Monika Weiss Primary Advisors Lisa Bulawski | Jessica Baran Committee Members Michael Byron | Dr. Mark Rollins Burkard, Shawn. Satan’s Beach Contents Abstract 1 Introduction 2 Trance 9 Aura 11 Surf Webs 666 16 Appropriation and Nonappropriation 19 Boredom 22 Life’s a Beach 24 Ceremony 26 Bo Diddley 29 Conclusion 34 Endnotes 36 Bibliography 37 Plates 38 Illustrations 44 Burkard, Shawn. Satan’s Beach Abstract It is crucial in today’s world to embrace technology, which is an essential component of our daily lives. It makes communication in our lives easier. Technology serves a variety of functions that help in the development of education, business, communication, and scientific research. The freedom it offers through social media platforms allows for personal connections at a global level to become feasible. Although the Internet provides ease of communication at a large scale, it is bound to have issues that pollute the intended connections. Virus, spam mail and cyberbullies are some of the items that contribute to it becoming a hostile environment. My most recent work delves into issues of technology, visibility, and personal expression. I explore the topic of pseudo-modernism. As described by Alan Kirby, there is a new standard of knowledge based on new technology and social platforms that define the pseudo-modern cultural phenomenon. Satan’s Beach is a series of paintings, photographs, and sculpture that come from an imaginary place. It is a dystopian environment inspired by the Internet that builds on the concept of subculture banality and mystical aura. Through creative writing and the other physical pieces, I attempt to give life to a nonexistent place through art. 1 Burkard, Shawn. Satan’s Beach Introduction Figure 1 Satan’s Beach Come, surf Satan’s webs—the spilling of abundance, the waves crashing on the shore. Satan’s Beach—the lost, legendary utopian ditch; the epic “Lost Party”; “the sinister source of creativity”; the max beyond the maximum. Its topography reveals crustaceous hard surfaces carved by centuries of being whipped by the ocean. Lava and oil spills, a hot spot for overindulgent sunbathers on the sand. Gravel pits for those who relish in self-destruction. It is known as the destination for competition under extreme conditions. It’s radical! Gestural marks deliberate pleasure and disturbance. Everything happens in life and painting. Feel the adrenaline! Just do it! Here there are no consequences for the greedy lepers with Titus complex, ready to take the bombs. Summon the number of the beast; be utterly amazed and confused by fear, anger, and joy. It’s a battle for who’s the worst! Get to know the locals, go back to the valley. They’ll break your 2 Burkard, Shawn. Satan’s Beach face. Home to the rich and the beautiful. You won’t be happy, but you’ll look good. Meet the “lord,” the legend, the Big G at the fountain. Take in the flora and fauna. Feast your eyes on the beauty of the atmospheric aerosol skies. Catch some stray rays and fade away into the haze. Endless activities for everyone await here, all included. Lounge in the sizzling disco Septic Liquid at the center of the world. DJ Whirlpool uses cannons, sunup to sundown, supercharged and superfun, unlike anything else ever experienced. Dive headfirst into the gallows below! Spontaneous island spirits have mystical visions in sewer vernacular. Unlimited eternal adventures are just a voodoo paddle away. Saltwater fire, seaweed, and sand massages for open wounds. Satisfaction. Everything you can possibly imagine is beachside—surfin’ and sun’n Satan’s webs. The Y vibes are totalitarian contagiousness, and before long, you’ll lose yourself. Go six feet under in a Ga fish coffin, push the limitless earth on 666 miles of pure paradise. Here you will never be faced with The Dwindle. Watch for The Dharma Bummer—a real drag—hitchhiking consciousness-probing Master of Reality. The path of least resistance can be found within the northeast winds. Worldwide Slaytanic Webs. Satan invites you: Come get away for a long time, meet interesting people, relax. It’s all risk, it’s all pleasure, and it’s all pain. Sometimes you can have everything your heart desires, except for the way it used to be. 3 Burkard, Shawn. Satan’s Beach Nonexistent Utopia Figure 2 Satan’s Beach is a place that I invented as a construct and inspiration to make art. It exists in tangible products like paintings, sculpture, writing, and photography. It is informed by our current cultural practices such as shopping and searching the Internet via mobile devices and on social media platforms. Satan’s Beach is a satire of the notion that the Internet is a utopian free space. The Internet is not a real place; it does not have physical dimensions. Utopia literally translates from the Greek meaning “no place”. The Internet is nonexistent yet we flock to it. Satan’s Beach is nonexistent, and I want people to flock to it. While on the surface it is based in fun, with an apocalyptic vernacular, it is also an exploration of language. It is composed of all the commercial lures present in television, movies, and the Internet, and the desire to escape reality. Its culture is developed around appropriated Internet jargon and puns, mixed with surfer slang. It is a place 4 Burkard, Shawn. Satan’s Beach that I made up, stranded between two worlds. One is the world of film where caricature development is sourced from movies like Endless Summer, Point Break, and Fast Times at Ridgemont High, and the second is sourced from the technological culture of Silicon Valley. These two worlds coalesce, making a self-absorbed world filled with narcissism and fictional inhabitants—the Twitter tiki freaks and beach trolls—who run rampant, compromising the free space by making it bad and nasty but equally enticing and lame. Figure 3 This modality of work was inspired by a question that emerged during research: What artistic period are we in? What defines now? I know we are past modernism, postmodernism, and post postmodernism, so I wanted to know where today’s artistic practices currently stand. During my research, I found an essay by Alan Kirby that made an impression on me. In his writing, Kirby states that postmodernism is dead and is no longer a reflection of our time. What he 5 Burkard, Shawn. Satan’s Beach explains is that we live in a time of “pseudo-modernism,” a cultural and social reshaping of authority and knowledge formed under the pressure of contemporary social platforms and technologies. This means that the use of the Internet gives power of authorship to anyone. This pseudo-modern world, so frightening and seemingly uncontrollable, inevitably feeds a desire to return to the infantile playing with toys which also characterizes the pseudo- modern cultural world. Here, the typical emotional state, radically superseding the hyper- consciousness of irony, is the trance – the state of being swallowed up by your activity. In place of the neurosis of modernism and the narcissism of postmodernism, pseudo- modernism takes the world away, by creating a new weightless nowhere of silent autism. You click, you punch the keys, you are ‘involved’, engulfed, deciding. You are the text, there is no-one else, no ‘author’; there is nowhere else, no other time or place. You are free: you are the text: the text is superseded.1 I was struck by two things when I read this passage: The older models of -isms have transitioned from being represented in physical form to an immaterial form, and Kirby’s position seems to be negative. He is saying that people are so addicted to having a constant online presence that they are unaware of how their constant commentary affects others. I do not see the Internet in a wholly negative way; however, I do find it entertaining from a creative point to view it as a hell. I do not fully subscribe to the concept Kirby offers, but I do agree with him on how being online is all-consuming and that the real person is now best represented on a screen. Other inspiring takes from Kirby’s passage were the terminologies used to describe this pseudo-modern world. It is a “frightening and seemingly uncontrollable” place introducing a “trance – the state of being swallowed up by your activity … [that] takes the world away …. You are involved, engulfed … there is no-one else, no ‘author’; there is nowhere else.” All these conjure up the idea that this place is something like a Lord of the Flies cyber tribe.
Load more

Recommended publications
  • Howlin' Wolf, Muddy Waters, Bo Diddley
    Howlin' Wolf The Super Super Blues Band mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Blues Album: The Super Super Blues Band Country: Europe Released: 1992 Style: Chicago Blues MP3 version RAR size: 1262 mb FLAC version RAR size: 1907 mb WMA version RAR size: 1900 mb Rating: 4.3 Votes: 300 Other Formats: DMF XM MMF WMA ASF RA DXD Tracklist Hide Credits Long Distance Call 1 9:15 Written-By – McKinley Morganfield Ooh Baby / Wrecking My Love Life 2 Written By – Ellas McDaniel / Clifton James-Kay McDanielWritten-By [Ooh Baby] – Ellas 6:34 McDanielWritten-By [Wrecking My Love Life] – Clifton James, Kay McDaniel Sweet Little Angel 3 6:38 Written-By – Robert McCollum Spoonful 4 4:13 Written-By – Willie Dixon Diddley Daddy 5 5:12 Written By – Ellas McDaniel-Harvey FuquaWritten-By – Ellas McDaniel, Harvey Fuqua The Red Rooster 6 7:25 Written-By – Willie Dixon Goin' Down Slow 7 4:49 Written-By – James B. Oden Companies, etc. Distributed By – BMG Credits Bass – Buddy Guy Drums – Clifton James Guitar – Hubert Sumlin Liner Notes [Original Lp Release] – Richard Meltzer Liner Notes [Reissue Note] – A.M.* Other [Cd Reissue Coordination] – Andy McKaie Other [Digitally Transferred By] – Robert Stroughton Piano – Otis Spann Vocals, Guitar – Bo Diddley, Muddy Waters Vocals, Harmonica, Acoustic Guitar – Howlin' Wolf Vocals, Tambourine – Cookie Vee Notes Recorded in Chicago, September, 1967 Originally released January 26, 1968 Digitally transferred from original masters MCA Studios, No. Hollywood, CA Made & printed in Germany Barcode and Other Identifiers
    [Show full text]
  • “Bo Diddley” and “I'm a Man” (1955)
    “Bo Diddley” and “I’m a Man” (1955) Added to the National Registry: 2011 Essay by Ed Komara (guest post)* Bo Diddley While waiting in Bo Diddley’s house to conduct an interview for the February 12, 1987 issue of “Rolling Stone,” journalist Kurt Loder noticed a poster. “If You Think Rock and Roll Started With Elvis,” it proclaimed, “You Don’t Know Diddley.” This statement seems exaggerated, but upon listening to Diddley’s April 1955 debut 78 on Checker 814, “Bo Diddley” backed with “I’m A Man,” it becomes apt, perhaps even understated. Bo Diddley (1928-2008) described his own place in music history to Loder. “People wouldn’t even bother with no stuff like ‘Bo Diddley’ and ‘I’m A Man’ and stuff like that ten years earlier [circa 1945] or even a year earlier [1954]. Then Leonard and Phil Chess decided to take a chance, and suddenly a whole different scene, a different kind of music, came in. And that was the beginning of rock and roll.” The composer credit for Checker 814 reads “E. McDaniels,” and there begins the tale. Bo Diddley was born Ellas Otha Bates in McComb, Mississippi on December 30, 1928 to a teenage mother and her local boyfriend. He was raised, however, by his maternal first cousin, Gussie McDaniel, to whom he was taken to Chicago, and given her surname McDaniel. He grew up on the South Side of the city, where he learned violin, trombone and, at age 12, the guitar. Before long, he was playing for change on the local streets.
    [Show full text]
  • The Impressions, Circa 1960: Clockwise from Top: Fred Cash, Richard Brooks> Curtis Mayfield, Arthur Brooks, and Sam (Pooden
    The Impressions, circa 1960: Clockwise from top: Fred Cash, Richard Brooks> Curtis Mayfield, Arthur Brooks, and Sam (Pooden. Inset: Original lead singer Jerry Butler. PERFORMERS Curtis Mayfield and the Impressions BY J O E M cE W E N from the union of two friends, Jerry Butler and Curtis Mayfield of Chicago, Illinois. The two had sung together in church as adolescents, and had traveled with the Northern Jubilee Gospel Singers and the Traveling Souls Spiritual Church. It was Butler who con­ vinced his friend Mayfield to leave his own struggling group, the Alfatones, and join him, Sam Gooden, and brothers Richard and Arthur Brooks— the remnants of another strug­ gling vocal group called the Roosters. According to legend, an impressive performance at Major Lance, Walter Jackson, and Jan Bradley; he also a Chicago fashion show brought the quintet to the at­ wrote music that seemed to speak for the entire civil tention of Falcon Records, and their debut single was rights movement. A succession of singles that began in recorded shortly thereafter. “For Your 1964 with “Keep On Pushing” and Precious Love” by “The Impressions SELECTED the moody masterpiece “People Get featuring Jerry Butler” (as the label DISCOGRAPHY Ready” stretched through such exu­ read) was dominated by Butler’s reso­ berant wellsprings of inspiration as nant baritone lead, while Mayfield’s For Your Precious Love.......................... Impressions “We’re A Winner” and Mayfield solo (July 1958, Falcon-Abner) fragile tenor wailed innocently in the recordings like “(Don’t Worry) If background. Several follow-ups He Will Break Your Heart......................Jerry Butler There’s A Hell Below We’re All Going (October 1960, Veejay) failed, Butler left to pursue a solo ca­ To Go” and “Move On Up,” placing reer, and the Impressions floundered.
    [Show full text]
  • August-September 2020
    2013 KBA -BLUES SOCIETY OF THE YEAR CELEBRATING OUR 25TH YEAR IN THIS ISSUE: -Consider This- by Lionel Young -The 1960s American Folk Blues Festivals and Manchester Volume 27 No5 August/September Memories -by David Booker 2020 -How To Make a Black Cat Bone - by Rick Saunders Editor- Chick Cavallero -Atlantic City Pop Festival – by Chick Cavallero -Gone But Not Forgotten-Howlin Wolf -by Todd Beebe Consider This -The Forgotten Walter- by Chick Cavallero and bobcorritire.com By Lionel Young -CD Reviews –CBS Members Pages Lionel Young is perhaps the greatest performer in the history of the IBC. He is the CONTRIBUTERS TO THIS ISSUE: only performer to win both the Solo Lionel Young, David Booker, Todd Competition and the Band Competition at the Beebe, Chick Cavallero, Jack Grace, Blues Foundation’s International Blues Dan Willging, Jim O’Neal, Challenge. He did both representing the Bluesoterica.com, Al Chessis, Colorado Blues Society. Racism has our world https://bobcorritore.com, Rick in turmoil and Lionel has witnessed this racism Saunders firsthand. This is Lionel’s story… Sometimes I forget who I am as a person. This exercise helps me to remember some important things about who I am. I believe that this country is changing fast for the long haul. I think in the future, people will look back at this time as pivotal. Please 1 take what’s happening now as an opportunity. This is a time for empathy. Try not to give in to fear and act from it. The disease of racism in this country the United States of America affects me in several ways.
    [Show full text]
  • Early Chess Albums: 1956 to 1959 by Frank Daniels
    Early Chess Albums: 1956 to 1959 by Frank Daniels LP-1425 to LP-1436 Soundtrack Rock, Rock, Rock LP-1425 First Appearance in Trades: BB December 15, 1956 The labels from pressing plant A have the catalog number in wide, bold print at the bottom. The authors’ names do not appear on the label. Neither side numbers nor master numbers appear on the label. Some copies (A1) have little space under the LP title, and little space above the first song on each side. Other copies (A2) have blank space separating the album title from the artists’ names, and blank space above the song titles. Still other copies (A3) have even more space above the song titles. The labels from pressing plant B have the catalog number in narrow print at the bottom. The authors’ names, side numbers, and master numbers all appear on the label, but the songs are not numbered. The first copies (B1) mistakenly list the author of “I Knew from the Start” as Moore and credit “Would I Be Lying” to Moore and Subotsky. and Subotsky The second labels from pressing plant B correctly credit “I Knew from the Start” to Moore and Subotsky, and credit “Would I Be Lying” to Moore. Some copies (B2) have the Side information closer to the song title below, while others (B3) have it closer to the line above. The original front cover design (fc1, shown above) indicated the LP number and “High Fidelity” in the lower left corner. The original back cover design (bc1, also above) only reads “HIGH FIDELITY” in the upper right corner.
    [Show full text]
  • The R&B Pioneers Series
    The Great R&B Files (# 11 of 12) Updated March 1, 2019 The R&B Pioneers Series Compiled by Claus Röhnisch Special Supplement: Top 30 Favorites - featuring the Super Legends’ Ultimate CD compilations, their very first albums, * and ± .. plus their most classic singles. Top Rhythm & Blues Records - The Top R&B Hits from 30 classic years of Rhythm & Blues THE Blues Giants of the 1950s THE Top Ten Vocal Groups of the Golden ‘50s Ten Sepia Super Stars of Rock ‘n’ Roll Transitions from Rhythm to Soul – Twelve Original Soul Icons The True R&B Pioneers – Twelve Hit-Makers of the Early Years Predecessors of the Soul Explosion in the 1960s Clyde McPhatter – The Original Soul Star The John Lee Hooker Session Discography The Clown Princes of Rock and Roll: The Coasters Those Hoodlum Friends – The Coasters Page 1 (94) THE R&B PIONEERS Series - Volume Eleven of twelve Compiled by Claus Röhnisch The R&B Pioneers Series: find them all at The Great R&B-files Created by Claus Röhnisch http://www.rhythm-and-blues.info (try the links her on the next page for youtube) Vol 1. Top Rhythm & Blues Records The Top R&B Hits from 30 classic years of Rhythm & Blues Vol 2. The John Lee Hooker Session Discography Complete discography, year-by-year recap, CD-Guide, and more John Lee Hooker – The World’s Greatest Blues Singer Vol 3. The Clown Princes of Rock and Roll Todd Baptista’s great Essay on The Coasters, completed with Singles Discography, Chart Hits, Session Discography, and much more Vol 4.
    [Show full text]
  • An Examination of Essential Popular Music Compact Disc Holdings at the Cleveland Public Library
    DOCUMENT RESUME ED 435 403 IR 057 553 AUTHOR Halliday, Blane TITLE An Examination of Essential Popular Music Compact Disc Holdings at the Cleveland Public Library. PUB DATE 1999-05-00 NOTE 94p.; Master's Research Paper, Kent State University. Information Science. Appendices may not reproduce adequately. PUB TYPE Dissertations/Theses (040) EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS *Audiodisks; Discographies; *Library Collection Development; *Library Collections; *Optical Disks; *Popular Music; *Public Libraries; Research Libraries; Tables (Data) IDENTIFIERS *Cleveland Public Library OH ABSTRACT In the 1970s and early 1980s, a few library researchers and scholars made a case for the importance of public libraries' acquisition of popular music, particularly rock music sound recordings. Their arguments were based on the anticipated historical and cultural importance of obtaining and maintaining a collection of these materials. Little new research in this direction has been performed since then. The question arose as to what, if anything, has changed since this time. This question was answered by examining the compact disc holdings of the Cleveland Public Library, a major research-oriented facility. This examination was accomplished using three discographies of essential rock music titles, as well as recent "Billboard" Top 200 Album charts. The results indicated a strong orientation toward the acquisition of recent releases, with the "Billboard" charts showing the largest percentages of holdings for the system. Meanwhile, the holdings vis-a-vis the essential discographies ran directly opposite the "Billboard" holdings. This implies a program of short-term patron satisfaction by providing current "hits," while disregarding the long-term benefits of a collection based on demonstrated artistic relevance.
    [Show full text]
  • Extra Special Supplement to the Great R&B Files Includes Updated
    The Great R&B Pioneers Extra Special Supplement to the Great R&B Files 2020 The R&B Pioneers Series edited by Claus Röhnisch Extra Special Supplement to the Great R&B Files - page 1 The Great R&B Pioneers Is this the Top Ten ”Super Chart” of R&B Hits? Ranking decesions based on information from Big Al Pavlow’s, Joel Whitburn’s, and Bill Daniels’ popularity R&B Charts from the time of their original release, and the editor’s (of this work) studies of the songs’ capabilities to ”hold” in quality, to endure the test of time, and have ”improved” to became ”classic representatives” of the era (you sure may have your own thoughts about this, but take it as some kind of subjective opinion - with a serious try of objectivity). Note: Songs listed in order of issue date, not in ranking order. Host: Roy Brown - ”Good Rocking Tonight” (DeLuxe) 1947 (youtube links) 1943 Don’t Cry, Baby (Bluebird) - Erskine Hawkins and his Orchestra Vocal refrain by Jimmy Mitchell (sic) Written by Saul Bernie, James P. Johnson and Stella Unger (sometimes listed as by Erskine Hawkins or Jmmy Mitchelle with arranger Sammy Lowe). Originally recorded by Bessie Smith in 1929. Jimmy 1. Mitchell actually was named Mitchelle and was Hawkins’ alto sax player. Brothers Paul (tenorsax) and Dud Bascomb (trumpet) played with Hawkins on this. A relaxed piano gives extra smoothness to it. Erskine was a very successful Hawkins was born in Birmingham, Alabama. Savoy Ballroom ”resident” bandleader and played trumpet. in New York for many years.
    [Show full text]
  • Bo Diddley Jungle Music Mp3, Flac, Wma
    Bo Diddley Jungle Music mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Blues Album: Jungle Music Country: UK Released: 1994 Style: Electric Blues MP3 version RAR size: 1554 mb FLAC version RAR size: 1904 mb WMA version RAR size: 1400 mb Rating: 4.6 Votes: 787 Other Formats: MPC MIDI MP2 AUD RA DTS MOD Tracklist 1 The Story Of Bo Diddley 2:48 2 Down Home Special 3:08 3 Little Girl 2:33 4 Bo Diddley 2:27 5 You Don't Love Me 2:45 6 Diddy Wah Diddy 2:28 7 Pretty Thing 2:44 8 Bring It To Jerome 2:29 9 Dancing Girl 2:21 10 Who Do You Love? 2:28 11 Crackin' Up 2:03 12 I Am Looking For A Woman 2:30 13 Cops & Robbers 3:27 14 Nursery Rhyme 2:48 15 Hey! Bo Diddley 2:09 16 You Can't Judge A Book By The Cover 2:09 17 Before You Accuse Me 3:04 18 Say Man 3:09 Companies, etc. Made By – MPO Phonographic Copyright (p) – Charly International APS Copyright (c) – Charly International APS Phonographic Copyright (p) – Editions Atlas Phonographic Copyright (p) – Orbis Publishing Ltd. Credits Backing Vocals – The Moonglows (tracks: 6, 14, 15) Bass – Chester Lindsay (tracks: 16), James Bradford (tracks: 3 to 5), Jesse James Johnson (tracks: 16), Willie Dixon (tracks: 1, 2, 6 to 11, 13 to 15, 17, 18) Drums – Billy Downing (tracks: 16), Clifton James (tracks: 3 to 7 to 11, 13 to 15, 17, 18), Edell Robertson (tracks: 16), Frank Kirkland (tracks: 1, 2, 6, 9, 11 to 15, 17, 18) Effects – Jerome Green (tracks: 2) Guitar – Jody Williams (tracks: 6, 9, 10, 12) Guitar, Vocals – Bo Diddley Harmonica – Billy Boy Arnold (tracks: 3, 5), Lester Davenport (tracks: 7, 8), Little Willie Smith (tracks: 9, 10, 12) Maracas – Jerome Green (tracks: 1, 2, 4, 6, 8 to 11, 16, 18) Photography By – Jean-Pierre Leloir Piano – Lafayette Leake (tracks: 1, 11, 18), Otis Spann (tracks: 3, 5, 13) Notes Issue 5 of the UK version of "The Blues Collection".
    [Show full text]
  • Newsletter June 2011
    June 2011 Newsletter ------------------ Yesterday & Today Records P.O.Box 54 Miranda NSW 2228 Phone: (02)95311710 Email: [email protected] www.yesterdayandtoday.com.au ------------------------------------------------ Postage 1 cd $2 2cd $4 3/4cd $6.50 Postage charges recently increased but we will keep them at this level for this newsletter. ------------------------------------------------ This is our biggest newsletter yet. There is something for everybody. Please be early as some titles are a single copy only. This is very important for the $5 cds and rarities section. Thank you for reading and please share it with someone else. Any questions? Please do not hesitate to ask. ----------------------------------------------------------------------- Book of Lists Part II Last newsletter I invited participation in this section of the newsletter and I am pleased to say I received quite a few replies, so following are a few. Again, we would invite contributions for future newsletters and especially welcome unusual lists. Let there be no bounds. May even do a few least liked lists. Yesterday & Today Favourite Random 5 songs. 1) “Lillie’s White Lies” by Martin Delray…refer rarities section under Martin Delray for a full rundown. 2) “Daddy Never Had a Chance in Hell” by Roger Springer Band. They only ever had one album and it is a gem. You will pick up a copy in our $10 bin. It tells of the dad who used to drive his wife to church. At first he would wait in the car drinking his “Jim Beam from a sack” (what Americans call a brown paper bag). Then he would sit up the back, ostensibly to keep out of the cold outside.
    [Show full text]
  • “Covering” the Bluesman from a Distance
    Introduction In many ways, my journey towards this thesis topic began with my brother’s music collection. Throughout my teens he would introduce me to a wide range of local and international acts, many of which were influenced by African-American blues artists. This influence is evident in both their construction of sound and the old songs that they rerecorded. From there I began tracing musical influences from song credits and interview excerpts—a path often travelled by musicians and fans alike—that would eventually lead me to an appreciation of blues music. The penultimate step towards this topic came in the form of my honours thesis—a creative project that involved rerecording several tracks from the catalogue of an early Australian country music artist, one of which was titled “Blue Mountain Blues”.1 From there I turned to blues music in Australia. Initially conceived as a history of “Australian blues”, it became apparent that this proposed sub-genre struggled to unify and explain the disparate musical styles contained therein. Although each artist was clearly addressing the musical characteristics and influences I had come to recognise as “blues music”, it all sounded different. In the meantime, I developed a keen interest in a fellow colleague’s thesis topic that addressed the role of “covers” within the Australian music industry (Giuffre, 2005). My epiphany—and catalyst for the current thesis topic—eventually presented itself while viewing a live performance from Peter Green Splinter Group. The concert was split into two courses: an acoustic entrée featuring several Robert Johnson “covers”; and, an electric main with side dishes of early Fleetwood Mac material—the band Green had help found many years ago.
    [Show full text]
  • 2012 Catalogue
    Catalogue Rollercoaster Records was founded in RRC 2006 1976. Since our first release by the SINGLES Crickets in 1977 we have continued to Vinyl still lives at Rollercoaster! The HARDROCK release what we feel are important re- following RRC series 7” 45rpm singles are GUNTER issues together with releases featuring new all in picture sleeves, except where noted. JUKEBOX material, mostly from 50s and 60s artists. HELP ME With only a few releases every year we try RRC 2001 FIND MY to make each one worthwhile and BABY interesting with quality sound and THE informative packaging. If you have any CRICKETS comments, we’d like to hear from you. We have recently discovered a few forgotten CRUISE IN IT Our email address is copies of this great 45s in our warehouse - order [email protected]. now if you'd like one. And isn't that our very Or you can send letters the old-fashioned own design and artwork master, David Gibsone, way to: in the background next to the Rock-Ola on the cover - another reason to buy a copy! Rollercoaster Records Ltd, Rock House, Jukebox help me find my baby/Fiddle bop London Road, St Marys, Stroud, A 1979 single, recorded in Nashville with Gloucestershire, GL6 8PU England Sonny Curtis, JI Allison and Joe B Mauldin Barcode 5 012814 000065 Please note we do not have retail sales Cruise In It/Rock Around With Ollie Vee RRC 2007 premises and all enquiries should be made Barcode 5 012814 000010 to the above address by mail. The Crickets THE RRC 2004 CRICKETS If you telephone please note that our lines Forever in mind (PLAIN COVER) are open from 10am to 4.30pm Monday to BILL HALEY The weekend Friday only.
    [Show full text]