CLIFFS of DOVER As Recorded by Eric Johnson (From the 1990 Album AH VIA MUSICOM) Transcribed by Ben Max Music by Eric Johnson

Total Page:16

File Type:pdf, Size:1020Kb

CLIFFS of DOVER As Recorded by Eric Johnson (From the 1990 Album AH VIA MUSICOM) Transcribed by Ben Max Music by Eric Johnson CLIFFS OF DOVER As recorded by Eric Johnson (From the 1990 Album AH VIA MUSICOM) Transcribed by Ben Max Music by Eric Johnson A Intro Free Time C DR P 8vaP P P 1 g 4 P V V V V V V V P V V V R V V V V V V V V V I 4 z u V z V P V V V W 3 Gtr I 1 1/2 Full M Full[[[[ Full 15 (15)M (15) 15 12 14 12 M 12 M 12 15 14 12 14 15 T 15 12 15 (15) 15 12 12 15 15 15 12 A 14 (14) B 0 P P 8va 3 V eV 4 g R R V V V V V 5 V V V V V V V P V V V P V V V V V V V V V V V V V I 4 V V 3 3 V 3 3 Full Full 12 M M 5 7 6 5 T 15 15 12 15 12 15 12 5 8 8 5 5 7 5 3 14 14 (14) 14 (14) (14) 12 7 7 4 4 2 A O 14 5 B P P P P P 3 3 V P V V V V 6 g P V V V V V V 4 V V 3 z j 4 V V V z I 4 V V V V V V V V 4 4 V V V V V V V 1/4 Full M M 7 8 10 8 T 8 (8) 5 7 8 10 10 12 4 2 O A 5 2 5 2 2 7 9 B 5 5 2 5 2 3 5 5 3 0 P sl. sl. 8va V V V V V 9 g V V V V V V V V V V V V V V V V V V I 42 V V 4 V V V 1716 V V V V V v 3 3 3 3 3 [ 15 15 15 15 15 15 15 15 15 15 T 12 13 15 17 19 19 17 19 19 17 19 A 14 14 17 17 19 19 17 B 10 12 14 15 17 sl. Max Industries Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org CLIFFS OF DOVER - Eric Johnson Page 2 of 10 8va V 12 g V V V V V V V V V V V V V V V V V V V V V V V V I 4 V V V V V V V 15 15 15 15 15 15 15 15 15 15 15 15 17 15 15 19 17 15 T 17 19 17 19 17 19 19 17 19 17 19 17 A 19 17 B 8va 5 5 5 14 g V V V V V aP V V V V c I 45 V V V V V V V V V V V V V V V 4 z k V 6 V V V V V V 5 V A.H. Full Full 17 15 M M T 19 19 15 17 15 18 (18)(18) (18) 17 17 14 16 14 16 14 16 14 O A 17 17 14 17 14 17 14 5 B 17 17 17 15 F G F G sl. B Theme Build-Up Fast Shuffle = 192 ( D ) P P P CP PR 3x V 16 g V V V V V V V V V W V V I 4 V V V V V V V V V V V V u P.M. P.M. P.M. P.M. P.M. let ring 3 3 3 3 3 3 [[[[[[ 7 T 3 5 7 5 5 8 7 A 5 5 5 5 5 5 5 5 5 5 B sl. W V V W W V 20 V P V V V g W V V V V W z V V c I W V u V Full 10 7 10[[[[[[[[[[[ 8 8 M [[[[[[[[[ T 8 8 8 10 10 8 5 7 O A 10 5 B 10 sl. 24 3 W g V V V V V V V c V V V c V c I V V V V V V V V V V let ring 3 3 3 3 3 3 3 5 T 3 5 7 3 A 5 5 5 5 5 5 B 3 3 5 (5) Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org CLIFFS OF DOVER - Eric Johnson Page 3 of 10 W V V V V V V W V V V 28 g W V V V V P V V V V c I W V V V j z u u V Full A.H.[[[[[[[[[[[ 10 12 14 [[[[12 M [[[[[[[[[ T 8 12 15 15 10 15 12 12 14 (14) 12 A 12 10 O 5 B 10 D D C Main Theme 32 g V V V V W V V U W V V V V I V V V V V V U W V let ring 3 3 3 3 T 3 5 7 5 7 A 5 5 5 5 5 5 5 7 14 12 14 B 3 5 sl. sl. V V V V V V 36 g V V V V V V V V V V V V V V V I V V V V V V W [[[[[[[[[ T 17 14 17 16 12 16 14 11 14 11 12 14 16 12 16 14 11 12 11 A 14 12 12 12 12 12 14 12 B 14 sl. sl. sl. sl. V V V V V V V P W 40 g V V V V V V V V V V V V V V z I V V V V V Full[[[[[[[[[[[ 10 M T 15 (15) 17 14 17 16 12 16 14 11 14 11 14 16 12 16 14 11 12 11 A 14 12 12 12 12 12 14 B sl. sl. sl. sl. V V V V V V 44 g V V V V V V V V V V V V V V V c I V V V V V k V V V [[[[[[[ T 17 14 17 16 12 16 14 11 14 11 12 14 16 12 16 14 11 12 11 A 14 12 12 12 12 12 14 12 B 14 (12) sl. sl. sl. sl. V V V V V V V 48 g V V V V V V V V V V V V V V V I V V V V V k V V V V 10 T 7 17 14 17 16 12 16 14 11 14 11 14 16 12 16 14 11 12 11 9 7 A 14 12 12 12 12 12 9 7 7 B sl. sl. sl. sl. sl. Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org CLIFFS OF DOVER - Eric Johnson Page 4 of 10 V V V V V V V 52 g V V V V V V W u k V V V V V I V V V V V V u 3 3 3 3 3 14 17 12 (12) 10 7 T 3 5 7 12 10 10 8 A 5 5 5 5 5 5 12 B P P V W V V V 56 g V c V V V V V k V V V V V I V V V V V u u P.M. P.M. P.M. 3 3 3 14 15 7 T 5 7 15 8 7 14 7 A 5 5 5 5 5 12 B sl. D Interlude I W V V V V V W V V V 60 g W V V V V k V V V V k V V c V V V V I W V u V u 3 u V V V V V u Full P.M. P.M. P.M. 10 12 14 [[[[[[[ 10 12 M 3 3 T 8 12 15 15 3 5 12 12 12 14 (14) 12 A 12 10 O 5 5 5 5 5 B 10 sl. sl. V V V V V V V V V V V V V V V V 65 g V V V k V V V V V V V V V I u 15mb P.M. 3 3 7 10 8 8 7 [[[[[[[ 14 (14) 14 17 T 7 8 8 8 15 17 17 15 17 9 7 9 7 14 A 5 B (17) P P V P V V V V V V V V z aP V V 69 g z V V V V c V V V V V W I u u V V V V V V V V Full [[[[[[[[[Full P.M. P.M. P.M. P.M. 14 15 17 (17)M M [[[[[[[ 3 3 3 3 T 17 15 17 O 18 (18) 3 5 7 12 14 12 A (5) 5 5 5 5 5 5 B sl. Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org CLIFFS OF DOVER - Eric Johnson Page 5 of 10 E Main Theme Redux U V V 74 V V V V V V V V V g U W V V V V V V V V V V V V V V V V I W V 8 T 8 5 17 14 17 16 12 16 14 11 14 11 12 14 16 12 16 14 11 A 12 14 12 14 14 12 12 12 12 12 B 12 10 sl.
Recommended publications
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • My Guitar Is a Camera
    My Guitar Is a Camera John and Robin Dickson Series in Texas Music Sponsored by the Center for Texas Music History Texas State University–San Marcos Gary Hartman, General Editor Casey_pages.indd 1 7/10/17 10:23 AM Contents Foreword ix Steve Miller Acknowledgments xi Introduction xiii Tom Reynolds From Hendrix to Now: Watt, His Camera, and His Odyssey xv Herman Bennett, with Watt M. Casey Jr. 1. Witnesses: The Music, the Wizard, and Me 1 Mark Seal 2. At Home and on the Road: 1970–1975 11 3. Got Them Texas Blues: Early Days at Antone’s 31 4. Rolling Thunder: Dylan, Guitar Gods, and Joni 54 5. Willie, Sir Douglas, and the Austin Music Creation Myth 60 Joe Nick Patoski 6. Cosmic Cowboys and Heavenly Hippies: The Armadillo and Elsewhere 68 7. The Boss in Texas and the USA 96 8. And What Has Happened Since 104 Photographer and Contributors 123 Index 125 Casey_pages.indd 7 7/10/17 10:23 AM Casey_pages.indd 10 7/10/17 10:23 AM Jimi Hendrix poster. Courtesy Paul Gongaware and Concerts West. Casey_pages.indd 14 7/10/17 10:24 AM From Hendrix to Now Watt, His Camera, and His Odyssey HERMAN BENNETT, WITH WATT M. CASEY JR. Watt Casey’s journey as a photographer can be In the summer of 1970, Watt arrived in Aus- traced back to an event on May 10, 1970, at San tin with the intention of getting a degree from Antonio’s Hemisphere Arena: the Cry of Love the University of Texas. Having heard about a Tour.
    [Show full text]
  • Leia a Matéria Completa Aqui
    Eric Johnson Comentário e Transcrição Kleber K. Shima Rapidinha 1 Cliffs Of Dover / do álbum Ah Via Musicom (1990) 026 - 035 Esta música abriu as portas para FMs, chegando a ganhar um Grammy. ponto. Somente as notas da segunda que Eric Jonhson se tornasse conhe- Nesse trecho, podemos notar duas téc- corda vão mudando e a nota G, que cido no mundo inteiro. Cliffs Of nicas distintas: pedal point e string está na primeira e na terceira corda, Dover foi uma das primeiras músi- skipping. No pedal point uma nota sem- permanece fixa. String skipping é a cas instrumentais a emplacar nas pre permanece fixa em determinado técnica de salto de cordas. F. 0 1 F. 0 1 Rapidinha 2 SRV / do álbum Venus Isle (1996) 000 - 014 Este tema feito em homenagem a sexta corda (compassos 1 e 5) e slides é a forma como ele deve ser executa- Stevie Ray Vaughan. Possui vários em intervalos quartais sobre duas cor- do, pois Johnson é obcecado pela per- elementos hendrixianos, que tam- das (compasso 6). Repare na beleza feição timbrística e interpretativa, bém faziam parte do estilo de do acorde Asus2 no final do compas- explorando todas as nuances e deta- Vaughan, como o uso do polegar na so 6. O que torna esse exemplo difícil lhes possíveis. F. 0 2 F. 0 2 F. 0 3 F. 0 3 Juliana Mozart Fotos: 8 - Guitar Class - Junho 2003 Rapidinha 3 Manhattan / do álbum enus Isle (1996) 001 - 019 Este é um dos temas mais mar- tocar notas oitavadas. Note que polegar (como Wes) e no compasso 2 cantes de Johnson, que possui uma Johnson vai alternando três técnicas usa a palhetada híbrida (com melodia que gruda na cabeça.
    [Show full text]
  • Catalogmusic873 919.Pdf
    INDEX 874 INDEX TITLE PAGE NO. TITLE PAGE NO. TITLE PAGE NO. A Acoustic Guitar Solo Fingerstyle Basics ..........707, 761 Afro-Cuban Slap Bass Lines............................693, 812 Acoustic Guitar Tab White Pages ....................394, 792 Aguilera, Christina – Stripped ..................................73 Aaberg, Philip – Piano Solos....................................72 Acoustic Instrumentalists – Guitar One Air Supply – Best of .................................................73 Above All – 15 Classic Praise Songs...............422, 535 Presents.....................................................394, 798 Aladdin – Big-Note Piano.......................................571 Above All – 50 EZ Inspirational Favorites...............422 INDEX Acoustic Piano Ballads...................................395, 545 Aladdin – Music Manuscript Paper ........................854 Above All Else, Your Name Be Praised!...................500 Acoustic Rock – Fingerstyle Guitar.........................395 Aladdin – P/V/G .....................................................271 Abrams, Daniel – Put Your Hands on the Acoustic Rock – Guitar Play-Along Volume 18.......789 Aladdin – Piano Fun! .............................................297 Piano and Play!..................................................848 Acoustic Rock – Guitar Recorded Versions............395 Aladdin – Recorder Fun!........................................294 Accompaniment Basics – Acoustic Guitar ......707, 741 Acoustic Rock – Guitar Technique Series.......733, 742 Aladdin – Xylotone
    [Show full text]
  • Eric Johnson
    ERIC JOHNSON The guitar has been very good to Eric Johnson, earning him international renown as a player, composer, recording artist and live entertainer as well as an ever-growing audience of admirers. And Eric Johnson has been very good to the guitar, spotlighting its myriad melodic, sonic and lyrical splendors, paying homage to its heroes and innovators, collaborating and playing with many of its finest contemporary talents, and fostering its continuing vibrancy as a primarily instrumental genre in popular music. “He's an extraordinary guitar player accessible to ordinary music fans,” notes the Memphis Commercial Appeal. That’s because Eric Johnson plays music and not just the guitar. He is also a gifted player of the piano (his first instrument) as well as songwriter, singer and song interpreter. Or more succinctly, Eric Johnson is a diverse, versatile and fully realized musical creator who plays guitar like no one else The pivotal event in Johnson's rise to becoming, as Guitar Player says, “one of the most respected guitarists on the planet," was his million-selling, now-classic 1990 album Ah Via Musicom (which loosely translates as "communicating through music"). It was his second release, following Tones, his 1986 major label debut. Musicom yielded three Top 10 singles – "Cliffs of Dover," which has become Johnson's signature song and won a Best Rock Instrumental Grammy, and "Trademark" and "Righteous." It made him the first artist to ever score three Top 10 instrumentals. Now, 28 years later, he revisits that landmark recording with a 2018 tour on which he will play the album – hailed as a "masterwork" in Amazon.com's review – in its entirety.
    [Show full text]
  • The Grizzly, February 19, 1991
    Ursinus College Digital Commons @ Ursinus College Ursinus College Grizzly Newspaper Newspapers 2-19-1991 The Grizzly, February 19, 1991 Krishni Patrick Ursinus College Judd Woytek Ursinus College Bob Gonnella Ursinus College Gina Solensky Ursinus College Erika Compton Ursinus College See next page for additional authors Follow this and additional works at: https://digitalcommons.ursinus.edu/grizzlynews Part of the Cultural History Commons, Higher Education Commons, Liberal Studies Commons, Social History Commons, and the United States History Commons Click here to let us know how access to this document benefits ou.y Recommended Citation Patrick, Krishni; Woytek, Judd; Gonnella, Bob; Solensky, Gina; Compton, Erika; Sylvester, Ellen; Messina, Mary Frances; Major, Chris; Johnson, Terri; Moir, Dennis; Trentacosti, Marjorie; Gelston, Trey; Barnes, Lisa Tremper; Becker, Matt; Strawbridge, Jennifer; Jacobson, Sara; Rubin, Harley David; Schafer, Neil; Ugoretz, Tonya; Richter, Richard P.; Bradley, Kenn; Koser, Todd; Coats, Reed; Mulholland, Joe; and Hallinger, Mark, "The Grizzly, February 19, 1991" (1991). Ursinus College Grizzly Newspaper. 271. https://digitalcommons.ursinus.edu/grizzlynews/271 This Book is brought to you for free and open access by the Newspapers at Digital Commons @ Ursinus College. It has been accepted for inclusion in Ursinus College Grizzly Newspaper by an authorized administrator of Digital Commons @ Ursinus College. For more information, please contact [email protected]. Authors Krishni Patrick, Judd Woytek, Bob Gonnella,
    [Show full text]
  • (Pdf) Download
    March eBluesletter www.CharlotteBluesSociety.org Issue 2018 Volume 03 What a great beginning to a new year for Charlotte Blues Society.Whew! I'm exhausted just thinking about it. The month of February was packed with some pretty amazing artists; from one of our favorites Davy Knowles,to Heather Gillis, who BLEW THE ROOM AWAY on our Blues Sunday Feb.11(she is returning to Charlotte this summer to play the Whitewater Center August 4, and YES, of course we will be there) Doyle Bramhall II, Marc Broussard, and then Eric Johnson came to town and wrapped the month up in style with his Ah Via Musicom Tour. They all signed our raffle guitar too. March kicks of with John Oates, Tab Benoit and then our Blues Sunday March 4th will knock your socks off with Blues Deluxe Band from Columbia, SC, followed by:....wait.....wait... an OPEN BLUES JAM.at 9:30pm. Yup, you asked for it, you got it. Join us at The Rabbit Hole Sunday March 4. Doors open at 7, Blues Deluxe begins at 8pm. FREE to members with valid card, only $5 to non-members and those without cards. Oh, and please remember to bring a non-perishable food item to donate to Loaves & Fishes too. We are going to be taking the donations for distribution on March 7. We want a BIG March to feed those at-risk kids and families in our area. 1 Can? I Can! Blues for Food folks. More good music in store this month, with Jorma Kaukonen of Hot Tuna fame, Bob Margolin & The New Familiars,The Nick Moss Band and more Quick reminder: if you are a member of the Blues Foundation, make sure you go to the website right now and vote for the artists nominated for the Blues Music Awards.
    [Show full text]
  • Percussion Catalog
    PERCUSSION CATALOG 2 DRUMSET – INSTRUCTION AND TECHNIQUE 2 VIDEOS AND DVDS 7 BOOKS 11 PETER MAGADINI 11 FAST TRACK DRUMS 14 PLAY DRUMS TODAY! 17 DRUMSET – PERFORMANCE 17 VIDEOS AND DVDS 20 TRANSCRIPTIONS 23 TRANSCRIBED SCROES 29 GIG GUIDES 30 SNARE DRUM 33 MALLETS 36 TIMPANI 38 HAND PERCUSSION 40 ELECTRONIC PERCUSSION 41 SUPPLEMENTARY MATERIALS 43 SOLOS & ENSEMBLES 46 REFERENCE 51 CLASSROOM RESOURCES 53 HOW TO ORDER 54 ORDER FORM 1-800-637-2852 www.musicdispatch.com Prices, contents, and availability subject to change without notice. 2 DRUMSET – INSTRUCTION & TECHNIQUE VIDEOS AND DVDS BASIC BRAZILIAN AFRO-CUBAN COORDINATION GENERAL INSTRUCTION RHYTHMS FOR DRUMSET ACCELERATE WHEN MUSIC WORKS DVD featuring Maria Martinez YOUR DRUMMING SERIES Hal Leonard EXERCISES AND TIPS TO MAKE YOU featuring Ricardo Monzón In this exciting video from Hal BETTER – FASTER Berklee Press Leonard, respected percussionist, by Larry Finn Learn how to play and practice clinician and educator Maria Rittor Music the classic rhythms of the Afro- Martinez reveals her revolutionary studies for Brazilian drumset Covers everything from hand Cuban tradition with Berklee coordination. She covers: bossa technique to some pretty advanced professor Ricardo Monzón. Monzón demonstrates the nova, samba, partido alto and baiao styles; beats such as grooves and fills. The grooves patterns and instruments that form the beating heart of 4/4 Bossa Nova, 2/2 Samba, plus 3/4 and 7/4 examples of include funk, rock, hip-hop, the Afro-Cuban tradition, on clave, conga, timbale, both; and rhythmic phrases and studies including shuffles, and Latin. The main message in this video is bongo and guiro.
    [Show full text]
  • Copyright by Craig Dwight Hillis 2011
    Copyright by Craig Dwight Hillis 2011 The Dissertation Committee for Craig Dwight Hillis Certifies that this is the approved version of the following dissertation: The Austin Music Scene in the 1970s: Songs and Songwriters Committee: __________________________________ Mark C. Smith, Supervisor __________________________________ Douglas E. Foley __________________________________ Karl H. Miller __________________________________ Kevin Mooney __________________________________ Jeffery L. Meikle __________________________________ William M. Stott The Austin Music Scene in the 1970s: Songs and Songwriters by Craig Dwight Hillis, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas At Austin August, 2011 Dedication In memory of David Norman Hillis ~ Brother Valerie Ann Hillis ~ Mother Dwight Norman Hillis ~ Father Acknowledgements This project began roughly twenty years ago when I visited the American Studies Department to inquire about their graduate program. I'd been rooting around the History Department where, at age forty-one and only twenty years behind schedule, I'd finished my undergraduate degree. I had the academic bug and I wanted to move on to graduate school. Professor David Montejano was kind enough to let me sit in on one of his graduate courses to allow me to get a feel for what graduate work involved. As the seminar wound down, he suggested that I check out the AMS program on the third floor of Garrison Hall. I looked through the courses the department had been offering over the last few semesters and after noticing subjects like film history, jazz, a large collection of topics in popular culture, and seminars dealing with drugs, alcohol, and the beat generation, I knew I'd found a new home.
    [Show full text]
  • Online Ordering Information
    702 ONLINEONLINE ORDERINGORDERING INFORMATIONINFORMATION DRUM It’s 10:30pm, and you’re closing up shop. But you notice that you’re sold out of some Hal Leonard bestsellers. And, you’re curious if your customer’s special order will be arriving tomorrow. Do you have to wait ’til morning to call your Hal Leonard rep? Not anymore! We’re very proud to announce that Hal Leonard Online Dealer Access is now live! This new website designed especially for our dealers is like having your very own Hal Leonard sales representative working for you around the clock. Here are just a few things you can do at this innovative, user-friendly site: • SEE ORDER STATUS The site’s Order Status feature provides you with a convenient listing of your orders, • SEARCH FOR SONGS AND PRODUCTS whether they’re active (all or part of the order hasn’t shipped yet) or completed. You’ll find complete product descriptions and images, and helpful information on a Register at Dealer Access, and by the next business day, you’ll see your order history product’s current status: ready to ship, not yet published, temporarily on backorder, posted for the past 30 days, plus every order you place from that day forward, whether or out of print. You can also do a search by song title to see which publications through the website, or by phone or fax. Eventually, you will be able to peruse up to a contain the tune you need. year’s worth of your orders, which you can sort by status, purchase order number, date, or Hal Leonard invoice number.
    [Show full text]
  • A History of the Texas Recording Industry Recording Texas the of History a Hickinbotham
    Hickinbotham: A History of the Texas Recording Industry A History of the Texas Recording Industry Recording A HistoryTexas of the A History of the Texas Recording Industry 1 GaryTexas Hickinbotham Recording Industry Texas and Texans have been and continue to be prominent in the overall history and development of the recording industry, although there has never been a record- ing center or record label in Tex- as comparable to those of New York, Los Angeles, or Nashville. The sales of so-called “cowboy,” “hillbilly,” and “ethnic” recordings in the 1920s and 1930s, much of which came out of Texas, were very important in helping bankroll the growth of the recording in- dustry in America. At the time, the recording com- panies considered the audience for “popular” music to be “lower-class,” but it was certainly a larger and more profitable market than that for clas- sical and operatic music recordings, and it remains so today. Tish Hinojosa, courtesy of Rounder Records. Produced by The Berkeley Electronic Press, 2004 1 Journal of Texas Music History, Vol. 4 [2004], Iss. 1, Art. 4 A History of the Texas Recording Industry Recording A HistoryTexas of the The recording industry is an interdependent but not-always- limited frequency response and caused the recordings to sound harmonious mix of music, technology, marketing, and ego. A scratchy. However, the sheer novelty of listening to recordings change in each of these elements affects the development of created a great public demand and several recording companies the others. In the earliest days of American recording, the scar- soon appeared in order to capitalize on the phonograph’s growing city and expense of the requisite equipment, coupled with the popularity.
    [Show full text]
  • Music Guide '89 for Big Play Match & Win Cash Prizes
    Music Guide '89 For Big Play Match & Win Cash Prizes J ENUFF V NUFF (ATCO) RADIO & RECORDS 41 KATHY MATTEA (MERCURY) 1927 (ATLANTIC) V 1 MELISSA ETHERIDGE (ISLAND) V :t//1!K a .Y... r,i ,. _ : r 6 ' % .n; Gvti# . MICHAEL McDONALD (FEPRISE) V 10DB (CRUSH K -TEL) Y 3 MARY'S DANISH (CHAMELEON) A BANG TANGO P. (MECHANIC/MCA) A MARY CHAPIN CARPENTER (COLUMBIA/CBS NASHVILLE) 1- OUEENSRYCHE (EMI) V NONA HENDRYX (PRIVATE MUSIC) o r. ¡ 1t IA +. 11 -<. r o a f , S 'IIT ° 1:¿S*111110: il- z A BAD ENGLISH (EPIC) GREGSON A 8 COLLISTER (RHINO) \ i D.A.D (WB) ,41/ i I 4 4 / A RICHARD SOUTHER (NARADA) -i . f _ ;l --_... 14'I, , á XYZ (ENIGMA) , A BILLY JOEL (COLUMBIA) -r r ' l A JUNKYARD (GEFFEN) 41 TREVOR RABIN (ELEKTRA) LENNY KRAVITZ (VIRGIN) More Than 650 New Releases WHAT CAN YOU EXPECT FROV COMPANY THAT BRINGS YOU THE MOST VARIED AND IVATING "USIC IN THE BUSINESS? MORE OF THE SAME! BRNK,S, -r STEPHEN E Ñ 1195P BANKSTATEMENT STEPHEN BISHOP DIRTY LOOKS BANKSTATEMENT (82007) BOWLING IN PARIS (87920) TURN OF THE SCREW (81992) JASON DONOVAN IIIKJONLS TEN GOOD REASONS .. a 4111 Tra#, AW . 11 A I 7.1 4 A 1 K M EA X . JASON DONOVAN MICK JONES MAX Q TEN GOOD REASONS (82oos) MICK JONES (81991) MAX O (82014) _ ' _, MGIM TGNEL,.L . .. 1":7 ..e11hKyll9, ,..... e i .n .. 192 _ : < . 1\IÁfyl ie a _---" ' c ir: ü . ilf i o o If - »S é. 0. e , A tr ° 4 M o o ishf= -'.
    [Show full text]