The Jam Sound Affects Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

The Jam Sound Affects mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Sound Affects Country: US Style: Mod MP3 version RAR size: 1448 mb FLAC version RAR size: 1335 mb WMA version RAR size: 1246 mb Rating: 4.3 Votes: 214 Other Formats: MMF FLAC TTA APE MP4 WMA VOX Tracklist 1 Pretty Green 2:36 2 Monday 3:00 3 But I'm Different Now 1:50 4 Set The House Ablaze 5:02 5 Start! 2:29 6 That's Entertainment 3:38 7 Dream Time 3:50 8 Man In The Corner Shop 3:12 9 Music For The Last Couple 3:43 10 Boy About Town 1:59 11 Scrape Away 3:59 Companies, etc. Made By – PDO, USA Phonographic Copyright (p) – Polydor Ltd. (UK) Copyright (c) – Polydor Ltd. (UK) Manufactured By – PolyGram Records, Inc. Marketed By – PolyGram Records, Inc. Published By – And Son Music Ltd. Credits Producer – The Jam, Vic Coppersmith-Heaven Notes First US CD release. 8-page heavy stock paper insert contains all song lyrics. ℗ © 1980 Polydor Ltd. (UK) Printed in U.S.A. Barcode and Other Identifiers Barcode: 0 422-823284-2 7 Matrix / Runout (Outer ring): 823 284-2 01@ Matrix / Runout (Inner ring): MADE IN USA BY PDO Other versions Category Artist Title (Format) Label Category Country Year POLD 5035 The Jam Sound Affects (LP, Album) Polydor POLD 5035 UK 1980 Sound Affects (CD, Album, POCP-2589 The Jam Polydor POCP-2589 Japan 1997 RE) Sound Affects (CD, Album, UICY-77061 The Jam Polydor UICY-77061 Japan 2015 RE) Sound Affects (CD, Album, Polydor, 9846098 The Jam 9846098 UK 2007 RE) Universal Music Sound Affects (CD, Album, 537 421-2 The Jam Polydor 537 421-2 UK Unknown RE, RM, RP) Related Music albums to Sound Affects by The Jam Jam, The - Sound Affects The Jam - Going Underground / The Dreams Of Children Various - Axs Magazine The Jam - Strange Town The Jam - Greatest Hits Associates - The Affectionate Punch Boyzone - A Different Beat Yoko Ono - My Man.

Copy Link

Recommended publications

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.
[Show full text]
17/9/15 Slagg Brothers Rhythm & Blues, Soul
17/9/15 Slagg Brothers Rhythm & Blues, Soul & Grooves Show Boys Keep Swinging 3:18 David Bowie From 1979 album Lodger Backslop 2:33 Baby Earl & The Trinidads 1958, has autobiographic elements - Berry was born at 2520 Goode Avenue in St. Johnny B. Goode 2:40 Chuck Berry Louis. He has written thirty more songs involving the character Johnny B. Goode, "Bye Bye Johnny", "Go Go Go", and "Johnny B. Blues" 1961. In 1962, the story continued with the arrival of Little Bitty Big John, learning Big Bad John 3:04 Jimmy Dean about his father's act of heroism. Big Bad John was also the title of a 1990 television movie starring Dean. 1966, written, composed, and performed by Cat Stevens. He got the name from his Matthew and Son 2:44 Cat Stevens tailor, Henry Matthews, who made suits him. From 1973 album Don't Shoot Me I'm Only the Piano Player. Donatella Versace named Daniel 3:55 Elton John her son Daniel Versace after this song. Hey Willy 3:28 The Hollies 1971. Hey Willy your mother calls you Billy, Your daddy calls you silly This was originally recorded by LA band The Leaves in 1965. No one has been able to Hey Joe 3:01 Tim Rose copyright it, so the song is considered "traditional," meaning anyone can record it without paying royalties. Hendrix was inspired to sing it after hearing this version. 1967. Original member Syd Barrett wrote this about a cross-dresser who used to Arnold Layne 2:53 Pink Floyd steal bras and panties from clotheslines in Cambridge.
[Show full text]
Diggin' You Like Those Ol' Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America
Diggin’ You Like Those Ol’ Soul Records 181 Diggin’ You Like Those Ol’ Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America Tammy L. Kernodle Today’s absolutist varieties of Black Nationalism have run into trouble when faced with the need to make sense of the increasingly distinct forms of black culture produced from various diaspora populations. The unashamedly hybrid character of these black cultures continually confounds any simplistic (essentialist or antiessentialist) understanding of the relationship between racial identity and racial nonidentity, between folk cultural authenticity and pop cultural betrayal. Paul Gilroy1 Funk, from its beginnings as terminology used to describe a specific genre of black music, has been equated with the following things: blackness, mascu- linity, personal and collective freedom, and the groove. Even as the genre and terminology gave way to new forms of expression, the performance aesthetic developed by myriad bands throughout the 1960s and 1970s remained an im- portant part of post-1970s black popular culture. In the early 1990s, rhythm and blues (R&B) splintered into a new substyle that reached back to the live instru- mentation and infectious grooves of funk but also reflected a new racial and social consciousness that was rooted in the experiences of the postsoul genera- tion. One of the pivotal albums advancing this style was Meshell Ndegeocello’s Plantation Lullabies (1993). Ndegeocello’s sound was an amalgamation of 0026-3079/2013/5204-181$2.50/0 American Studies, 52:4 (2013): 181-204 181 182 Tammy L. Kernodle several things. She was one part Bootsy Collins, inspiring listeners to dance to her infectious bass lines; one part Nina Simone, schooling one about life, love, hardship, and struggle in post–Civil Rights Movement America; and one part Sarah Vaughn, experimenting with the numerous timbral colors of her voice.
[Show full text]
[FW3T]⋙ the Jam & Paul Weller: Shout to the Top by Dennis Munday
The Jam & Paul Weller: Shout to the Top Dennis Munday Click here if your download doesn"t start automatically The Jam & Paul Weller: Shout to the Top Dennis Munday The Jam & Paul Weller: Shout to the Top Dennis Munday The inside story of The Jam and The Style Council by the man who oversaw their careers! Record industry executive Dennis Munday's frank account reveals the trials and triumphs of Paul Weller's career, from The Jam's first single in 1977 to the break-up of The Style Council in 1989. He also writes about Weller's post-style Council solo career with a unique insight. Working for Polydor, the author became a regular presence at the two groups' many recording sessions, effectively becoming an honorary member of both The Jam and The Style Council. Despite a sometimes stormy relationship with the band members - and eventually leaving Polydor - Munday was the vital link between Paul Weller and his record company or years. Here then is a uniquely intimate portrait of a rock hero and two influential groups written by someone who was at the heart of the action. This new edition of Shout To The Top has been updated to include details of Paul's new album 22 Dreams, ongoing changes in the line-up to his band and the emergence of From The Jam, the group featuring Paul's former colleagues Bruce Foxton and Rick Buckler which is touring the world performing a set of Jam songs to great acclaim. Download The Jam & Paul Weller: Shout to the Top ...pdf Read Online The Jam & Paul Weller: Shout to the Top ...pdf Download and Read Free Online The Jam & Paul Weller: Shout to the Top Dennis Munday From reader reviews: Anna Lewis: In this 21st century, people become competitive in every single way.
[Show full text]
Win a Genuine Bruce Foxton Shirt! Posted in []
Win a genuine Bruce Foxton shirt! Posted In [] Competition "To coincide with the forthcoming "35th Anniversary of All Mod Cons Tour" we have got a fantastic prize for one very lucky winner. Bruce has donated one of his original stage worn shirts which you can see on the photograph below, this is the white with large black polka dots which was worn as recently as Widnes last month. As this shirt is over thirty years old and has seen lots of active service n stage Bruce wants it made clear that it is well worn in places. This is an original from Melanddi of Carnaby Street and has been worn on stage with The Jam and From the Jam. Any Jam collector knows how rare and sought after this kind of item is, especially with provenance. To enter simply answer the two questions below, email your answers to [email protected] before 12.00 on Wednesday 28th August including your name, address, mobile number and which of the All Mod Cons shows you are going to. Question 1) Name the classic Jam song which appears but was not originally credited on the All Mod Cons album. Question 2) On the original American release of All Mod Cons Billy Hunt was replaced by which song? To ensure this special prize will go to a true fan we have made the question the tricky ones. Normal rules apply. Good luck" Added on 20/08/13 by Guy This article has been read 647 times. | .
[Show full text]
“What's Going On”—Marvin Gaye (1971)
“What’s Going On”—Marvin Gaye (1971) Added to the National Registry: 2003 Essay by Josiah Howard (guest post)* " WHAT'S GOING ON " MARVIN GAYE 0 I . WHAT 'S GOING ON lSI A C'•,••"".M G•v• fl Ben10nl 2 . WHAT' S I-I A PPENING BROTHER 2.U IJ "v~. M Geve l. F L Y IN' HIGH (IN THE FIIIIENOLV SKYI J ·40 IM Gevd e SAVE THE CHILDREN l e4 ,A C••vetena. M Gave R 8...,M>., S . GOD IS LOVE 2 , Jt '"" G•v• A Ga'l'I E s,o,,.,,J J'l.y•I , M E R C Y,,,.EIIICV,,U !THE ECOLOGY ) J . OS IM Gavtl ,,oduc-.dt>yMa,v,.,Ga~• Original album Original label Marvin Gaye A question mark song and album without the question mark in the title, at the time of its release in 1971, Marvin Gaye’s seminal “What’s Going On” was a not-so-subtle statement record: a watershed musical endeavor that broke with Motown Records’ traditions, spoke directly to the volatile times in which it was conceived, and placed its singer/musician/songwriter in the record books. It also has, over the past half century, been reconsidered, reevaluated and recognized as one of the most substantial Pop/Soul music recordings ever set to wax. But it almost didn't happen. Motown records, “the sound of young America” were, throughout the sixties, the most successful soul music label in the world. It was a strategic triumph that came to pass in part because, with very few exceptions (1963’s “The Great March to Freedom: Martin Luther King Jr Speaks” was one), the label’s music was decidedly uncontroversial.
[Show full text]
June 2015 Vol
A Mirror and Focus for the Jazz Community June 2015 Vol. 31, No. 06 EARSHOT JAZZSeattle, Washington Morgan Gilkeson & Adriana Giordano: New Faces of Seattle Jams Photo by Daniel Sheehan 2 • Earshot Jazz • June 2015 EaRSHOT JAZZ LETTER FROM THE DIRECTOR A Mirror and Focus for the Jazz Community Executive Director John Gilbreath Money Makes the World Go ‘Round Managing Director Karen Caropepe Programs Assistant Caitlin Peterkin Artists make the art go ‘round. And Earshot Jazz Editors Schraepfer Harvey, art, for most of us, makes life worth Caitlin Peterkin living. Contributing Writers Halynn Blanchard, The issue of artist compensation Levi Gillis, Jeff Janeczko, Bryan Lineberry, has come to the forefront again here Andrew Luthringer, Peter Monaghan in Seattle, and much of the dialogue Calendar Editor Schraepfer Harvey seems to be centered around working Calendar Volunteer Tim Swetonic jazz musicians. Lists are being made, Photography Daniel Sheehan discussions held, and names being Layout Caitlin Peterkin called. Politicians and city offices are Distribution Dan Wight and volunteers showing public support for our art- their pocket, and that the musician’s send Calendar Information to: ists, no doubt while also supporting talented hand is just one more. email [email protected] or the revenue-producing infrastructure But battle lines are sometimes too go to www.earshot.org/Calendar/data/ of our growing city of music. gigsubmit.asp to submit online easily drawn into bi-polar, “us vs. Though the population and econ- them” camps. I would like to propose Board of Directors Ruby Smith Love omy here are in obvious “boom” (president), Diane Wah (vice president), Sally that we all take responsibility, and Nichols (secretary), Sue Coliton, John W.
[Show full text]
The Top of the Poppers Sing and Play Punk
Title The Top of the Poppers sing and play punk Type Article URL https://ualresearchonline.arts.ac.uk/id/eprint/14980/ Dat e 2 0 1 9 Citation Bestley, Russ (2019) The Top of the Poppers sing and play punk. Punk & Post Punk, 8 (3). pp. 399-421. ISSN 2044 1 9 8 3 Cr e a to rs Bestley, Russ Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected] . License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author The Top of the Poppers sing and play punk Russ Bestley, London College of Communication By the mid-1970s, the music industry had a long history of accommodating and recuperating teenage rebellion, and punk’s defiant message of radical change also offered new opportunities for commercial enterprise. A rush to sign new bands who could be (broadly) associated with punk, and the concomitant shift toward ‘new wave’ styles, led to a degree of UK chart success for a number of groups. The inclusion of punk and new wave songs on a series of low-budget compilations featuring cover versions of contemporary hits strikes a particularly discordant tone with punk’s self-styled image of a break with traditional music industry conventions. The albums released on the longstanding budget compilation series Top of the Pops between mid-1977 and early 1982 tell an interesting story about the cultural recuperation of punk, new wave and post-punk, and ask questions, perhaps, about the legitimacy of punk’s often mythologised ‘outsider status’.
[Show full text]
Smash Hits Volume 24
November 1-14 1979 30p m> POLICE SPi im BATS LPs to be won Uover forbidden 1 *-.,. Records Mv" Rec . __.. ,«i»i Atlantic L^rs^ur^tohavevou onn !*»-»- »*' BY Chic at verv love you Chorus . er d MV no other *°^lr We'll just ?JJK» no o^er and everv *nev You're 'cause " do * « anc ' <e :«•want to your beckner- "VTn'tI - „ at I didn t tr oe And love" indeed That your ^neW ves to and the you are You «Y AppearanceapP That sinister a«W» Repeat chorus Those ur love dQ ^ forbidden .... ,o«e is : ooh " NlyK hidden g^— iV.WeeVo«r»ov. indeed yes chorus to Vou are a.neat D»ne at chorus U" Hello, I'm Page 3. I'm the page that gives the rundown on the rest of the issue, makes it all sound utterly fantastic and desirable, gets to crack a joke or Nov 1-14 1979 two, and generally acts all snappy and hot to trot. It's a piece of cake in this magazine, 'cause the other pages work so hard to come up with the goods — Vol 1 No 24 now my cousin, who's Page 3 of The Sun, he has a rotten time trying to dream up captions for pictures of nude ladies. (Get on with it — Ed.) OK OK, this time around Page 24 has asked me to tell you about his Quiz; Page 31 has Editorial address; Smash Hits, Lisa 52-55 asked me to remind you about his terrific badge offer — the complete set of House, Carnaby Street, London five W1V 1PF.
[Show full text]
The Hartley's Jam Factory
Bermondsey Street Back Stories Number 13: Jam Yesterday – Hartley’s in Bermondsey by Jennie Howells September 2020 The London works of Hartley’s The Jam Factory Chimney As Bermondsey has changed over the years, factories, workshops and warehouses have given way to offices, restaurants and smart apartment blocks. But one sight has greeted residents and newcomers for over a century. It is a high chimney stack that proclaims in bold white lettering, ‘HARTLEYS’. This is the story of Hartley’s jams and preserves – but also of the remarkable Sir William Pickles Hartley. Sir William Hartley – Lancashire-born He was born in 1846 in Colne Lancashire. An early photograph shows a young man of determination and ambition, but he was more than this. He was a staunch Primitive Methodist both in views and behaviour. A lifelong philanthropist and generous contributor to many causes, he made an early decision to devote 10% of his gross income to humanitarian work. This amount was to increase as years went on. Amongst many other initiatives, he funded a cottage hospital, a model village, retirement homes for his workers, a botanical laboratory and a Methodist training college. William Hartley, aged 14 The successful Sir William Hartley A career in jam William left school at the age of 14 and began work in his mother’s grocery shop. He started his commercial career at the age of 16 when he opened his own business in grocers’ sundries. This quickly became successful until deliveries of jam from a local supplier became unreliable. When orders failed to arrive, with characteristic enterprise he began to produce his own preserves.
[Show full text]
Smash Hits Magazine December 1978
1__ M m m U//MKB i 1 B ^ -^ : '«! ^^h im#j L^'*7ii /**J *$ M'W$at*iM': 25p i y L*^^^^^^L^ W H ji.,^ k R?^ \\- fl 1 k words to 2 1 TOP SIN including Instant Replay. DarfH Hurry Up H Elation At Hiirtl- l namOnuaiO* . * T"e d,st, "eco«fe Hanging On The nt el ,f ^ Telephone, Brandy _.â/bums (A" thÔr Thank You for A . dsinside) TO BE WON Being A Friend A I adio. By Elvis Costello&l Records I was tuning in the shine on the light night dial Doing anything my radio advised With everyone of those late night stations Playing songs bringing tears to my eyes I was seriously thinking about hiding the receiver When the switch broke, 'cos it's old They're saying things that I can hardly believe They really think we're getting out of control Radio is the sound salvation Radio is cleaning up the nation They say you better listen to the voice of reason But they don't give you any choice, cos they think that K's J;-:-, treason So you had better do as you are told You better listen to the radio I want to bite the hand that feeds me I want to bite that hand so badly I want to make them wish they'd never seen me. Some of my friends sit around every evening "MS they worry about the times ahead else Is overwhelmed by indifferen P'dymlse of an early bed r shut up or get cut up t wanna bear about it , .nches on the reel to reel he radio is in the hands of such a tot of fools g to anaesthetise the way you feel adlo is the sound salvation St :j adlo is cleaning up the nation hey say you better listen to the voice of reason ut they don't give yog any choice, 'cos they think th treason îKSiisiSS o you had better do as you are told .'ou better listen to the radio - and music by Elvis 2 SMASH HITS Contents MONTHLY December 1978 Vol.
[Show full text]
MOODY Song List 2017
2 PAC FEAT DR DRE – CALIFORNIA LOVE ARETHA FRANKLIN – (YOU MAKE ME FEEL BETTY WRIGHT – TONIGHT IS THE NIGHT 3 DOORS DOWN - HERE WITHOUT YOU LIKE) A NATURAL WOMAN BEYONCE – AT LAST 3 DOORS DOWN - KRYPTONITE ARCHIES – SUGAR, SUGAR BEYONCE – RUDE BOY 3 DOORS DOWN - WHEN I'M GONE AVICII – HEY BROTHER BEYONCE - SINGLE LADIES 4 NON BLONDES – WHAT’S UP AVICII – LEVELS BIG & RICH - SAVE A HORSE, RIDE A 311 - LOVESONG AVICII – WAKE ME UP COWBOY 50 CENT – IN DA CLUB AVRIL LAVIGNE – SK8ER BOI BIG & RICH – LOST IN THIS MOMENT ABBA – DANCING QUEEN AWOLNATION - SAIL BILL WITHERS – AIN’T NO SUNSHINE AC/DC – BACK IN BLACK AUDIOSLAVE - LIKE A STONE BILL WITHERS - USE ME AC/DC - YOU SHOOK ME (ALL NIGHT LONG) B – 52'S LOVE SHACK BILLY HOLIDAY – STORMY WEATHER ACE OF BASE – ALL THAT SHE WANTS B.O.B - NOTHIN ON YOU BILLY IDOL - DANCING WITH MYSELF ADELE – MAKE YOU FEEL YOUR LOVE BAAUER - HARLEM SHAKE BILLIE JOEL - PIANO MAN ADELE – ONE AND ONLY BACKSTREET BOYS - I WANT IT THAT WAY BILLY JOEL - YOU MAY BE RIGHT ADELE - ROLLING IN THE DEEP BAD COMPANY - SHOOTING STAR BILLY RAY CYRUS - ACHY BREAKY HEART ADELE - SET FIRE TO THE RAIN BAD COMPANY – FEEL LIKE MAKING LOVE BILLY THORPE – CHILDREN OF THE SUN ADELE - SOMEONE LIKE YOU BARENAKED LADIES – IF I HAD $100,000,000 BLACK CROWES - HARD TO HANDLE A-HA – TAKE ON ME BASTILLE – BAD BLOOD BLACK CROWES - JEALOUS AGAIN AFGHAN WHIGS - DEBONAIR BASTILLE – POMPEII BLACK CROWES - SHE TALKS TO ANGELS AFROMAN - BECAUSE I GOT HIGH BEACH BOYS – GOD ONLY KNOWS BLACK EYED PEAS – I GOTTA FEELING AFROMAN – CRAZY RAP BEACH BOYS
[Show full text]