On the Road Free Ebook

Total Page:16

File Type:pdf, Size:1020Kb

On the Road Free Ebook FREEON THE ROAD EBOOK Kerouac | 352 pages | 31 Oct 2004 | Penguin Putnam Inc | 9780142437254 | English | New York, NY, United States On the Road by Jack Kerouac In the winter ofthe reckless and joyous Dean Moriarty, fresh out of another stint in jail and newly married, comes to New York City and meets Sal Paradise, a young writer with an intellectual group On the Road friends, among them the poet Carlo Marx. Dean fascinates Sal, and their friendship begins three years of restless journeys back and forth across the country. With a combination of bus rides and adventurous hitchhiking escapades, Sal goes to his much-dreamed-of west to join Dean and more friends in Denver, and then continues west by himself, working as a fieldworker in California for awhile, among other things. The next year, Dean comes east to Sal again, foiling Sal's stable life once more, and they drive west together, with more crazy adventures on the way at Bull Lee's in New Orleans, ending in San Francisco this time. The winter after that, Sal goes to Dean, and they blaze across the country together in friendly fashion, and Dean settles in New York for awhile. In the spring, Sal goes to Denver alone, but Dean soon joins him and they go south all the way to Mexico City this time. Through all of this constant movement, there is an array of colorful characters, shifting landscapes, dramas, and personal development. Dean, a big womanizer, will have three wives and four children in the course of these three years. Perceptive Sal, who at the beginning is weakened and depressed, gains in joy and confidence and finds love at the end. At first Sal is intrigued by Dean because On the Road seems to have the active, impulsive passion that Sal lacks, but they turn out to have a lot more in common. The story is in the details. Election Day is November 3rd! Make On the Road your voice is heard. Summary Summary. Next section Part I, Chapters Test your knowledge Take the Summary Quick Quiz. Popular pages: On the On the Road. Take On the Road Study Break. Used car dealer in Bronx, Bronx, New Jersey, Queens, NY | On The Road Automotive Group Inc The initial U. In their retrospective review, Allmusic praised the playing of Roger Hawkins, David Hood, and Barry Beckett, but condemned the album for both stretching On the Road songs out for too long and failing to improve on the "lackluster" studio versions of the three songs On the Road Shoot Out at the Fantasy Factory. From Wikipedia, the free encyclopedia. Retrieved August 9, Australian Chart Book — illustrated ed. St Ives, N. Fantasy " " 40, Headmen " " Feelin' Alright? Book Category. Hidden categories: Webarchive template wayback links Articles with short description Short description is different from Wikidata Articles with hAudio microformats Album articles lacking alt text for covers. Namespaces Article Talk. Views On the Road Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Italiano Norsk nynorsk Edit links. Progressive rockjam rock. Shoot Out at the Fantasy Factory On the Road When the Eagle Flies Chris Wood. Australia Kent Music Report On the Road. United Kingdom Official Charts Company [1]. On the Road (Traffic album) - Wikipedia Goodreads helps you keep track of books you want to read. Want On the Road Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? On the Road if other :. Thanks for telling us about the problem. Return to Book Page. Preview — On the Road by Jack Kerouac. American continent with his friend Neal Cassady, "a sideburned hero of the snowy West. Get A Copy. Paperbackpages. Published January 1st by Penguin Books first published September 5th More Details Original Title. Duluoz Legend. Other Editions Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about On the Roadplease sign up. Should I read this? Eric Don't touch it! Read Faulkner or better yet On the Road McCarthy for the stream of consciousness literary style. This has zero character development probab …more Don't touch it! This has zero character On the Road probably because he wrote it while tripping on acid. Its a total waste of time less. Initially, I was excited to start reading On the Road but after I read the intro by Ann Charters which was basically a mini-bio of Kerouac, I was severely turned off. Does it get better than the intro? Kris If you are into the beat movement in the USA in the 50's, it's an interesting On the Road. What I took from it was sentences that lasted half a page, a lot o …more If you are into the beat movement in the USA in the 50's, it's an interesting read. What I took from it was sentences that lasted half a page, a lot of jumping back and forth and just general annoyance over On the Road of the characters. The book does however portray very well how the Beat movement during that time impacted the people involved, but the endless rambling on and on and repeating himself, associating with horrible people etc. That being said - I read it because I took a class in Beat art and literature, so I learned a lot from the book too. It has it good parts and its bad, and it also involves a severely narcissistic character which was interesting to read about. I had to go back several pages whenever I picked it up again just to remember the context. See all 25 questions about On the Road…. Lists with This Book. Community Reviews. Showing Average rating 3. Rating details. More filters. Sort order. Start your review of On the Road. Sep 29, Jessica rated it did not like it Recommends it for: fourteen-year-old assholes. Shelves: dicklitsbad-reads. This is probably the worst book I have ever finished, and I'm forever indebted to the deeply personality-disordered college professor who assigned it, because if it hadn't been for that class I never would've gotten through, and I gotta tell On the Road, this is the book I love to hate. I'd be lying if I said there aren't parts of this On the Road that're so bad they're good -- good as in morbidly fascinating, in the manner of advanced-stage syphilis slides from seventh-grade health class. Keroac's ode to the sad-eyed Negro is actually an incredible, incredible example of For the record. So we On the Road all see it clearly, and KNOW. Please don't get me wrong! My disproportionately massive loathing for Jack Kerouac has zero to do with his unenlightened racial views. On the Road mean, it was written in the fifties, On the Road anyway, it's great that he was able to articulate these ideas so honestly. No, the real reason I hate this book so much is that it established a deeply retarded model of European-American male coolness that continues to plague our culture today. I could go into a lot more depth on this topic, but it's come to my attention that I've been using my horrible addiction to Bookster to avoid the many obligations and responsiblities of my daily life, to which I should now return. And for that very reason, especially considering its serious and detrimental impact on western civilization, I definitely recommend that you read it, if you have not suffered that grave misfortune already. View all comments. Apr On the Road, Adam rated it did not like it Shelves: fiction. I'm supposed to like On the Roadright? Well, I don't. I hate it and I always have. There are a lot of reasons why I hate it. I find Kerouac's attitude toward the world pathetically limited and paternalistic. In On the Road he actually muses about how much he wishes that he could have been born "a Negro in the antebellum South," living a simple life free from worry, and does so seemingly without any sense of irony. On every page, the book is about how Kerouac a young, white, middle-class, I'm supposed to like On the Roadright? On every page, the book is about how Kerouac On the Road young, white, middle-class, solipsistic alcoholic feels, and nothing more. But that's only one reason I hate this book. The main reason I hate it is because, for me, reading Kerouac's prose is almost physically painful. He was a pretentious, self-important bore who produced some of the most painfully bad and inconsequential prose of the 20th century. Or any century. View all 89 comments. Feb 25, Ian "Marvin" Graye rated it really liked it Shelves: reviews. This novel deserves to lounge around in a five star hotel rather than languish in a lone star saloon. Disclaimer Please forgive my review. It is early morning and I have just woken up with a sore head, an empty bed and a full bladder. Confesssion Let me begin with a confession that dearly wants to become an assertion. I probably read this book before most of you were born. On the Road there! Wouldn't On the Road love to say that! If only I had the courage of my convictions. Instead, I have only convictions, and they are many and varied. However, I am sure that On the Road the end of my this sentence, I shall be released.
Recommended publications
  • Russell Gulley Alabama Touring Artist Program
    Alabama Touring Artist Program Study Guide Russell Gulley Intro: FROM TRADITIONAL MUSIC TO AMERICAN POP 265-845-0203 [email protected] Artistic Genre: Music Performing Artist: Russell Gulley 1 Alabama Touring Artist Program Study Guide presented by Alabama State Council on the Arts 201 Monroe Street, Suite 110; Montgomery, AL 36130-1800 334-242-4076 Ext. 241 Alabama Touring Artist Program presented by the Alabama State Council on the Arts This Study Guide has been prepared for you by the Alabama State Council on the Arts in collaboration with the performing artist. All vocabulary that is arts related is taken directly from the Alabama Course of Study, Arts Education. With an understanding that each teacher is limited to the amount of time that may be delegated to new ideas and subjects, this guide is both brief and designed in a way that we hope supports your school curriculum. We welcome feedback and questions, and will offer additional consulting on possible curriculum connections and unit designs should you desire this support. Please feel free to request further assistance and offer your questions and feedback. Hearing from educators helps to improve our programs for other schools and educators in the future. Please Contact: Diana F. Green, Arts in Education Program Manager at: 334/242-4076 Ext. 241 [email protected] Set up: Artists typically arrive 60 minutes before their scheduled performance in order to set up. Please have the space available to the artist as soon as she arrives. All artists will need some kind of setup prior to arrival.
    [Show full text]
  • Still on the Road 1980 Saved Sessions
    STILL ON THE ROAD 1980 SAVED SESSIONS FEBRUARY 11 Sheffield, Alabama Muscle Shoals Sound Studio, 1st Saved recording session 12 Sheffield, Alabama Muscle Shoals Sound Studio, 2nd Saved recording session 13 Sheffield, Alabama Muscle Shoals Sound Studio, 3rd Saved recording session 14 Sheffield, Alabama Muscle Shoals Sound Studio, 4th Saved recording session 15 Sheffield, Alabama Muscle Shoals Sound Studio, 5th Saved recording session 27 Los Angeles, California Shrine Auditorium, 22nd Annual Grammy Award Ceremony MARCH Los Angeles, California United Western Studios, Keith Green recording session Still On The Road: 1980 Saved Sessions 5551 Muscle Shoals Sound Studio Sheffield, Alabama 11 February 1980 1st Saved recording session produced by Jerry Wexler & Barry Beckett. 1. Covenant Woman 2. Covenant Woman 3. Covenant Woman 4. Covenant Woman 5. Covenant Woman 6. Covenant Woman 7. Covenant Woman 8. Covenant Woman 9. Covenant Woman 10. Covenant Woman 11. Covenant Woman Bob Dylan (vocal & guitar), Fred Tackett (guitar), Spooner Oldham (keyboards), Terry Young (acoustic piano), Barry Beckett (electric piano), Tim Drummond (bass), Jim Keltner (drums). Official release 3 released on Bob Dylan: Trouble No More. The Bootleg Series Vol. 13 1979-1981, Disc Three: Rare and Unreleased, Columbia 88985454652-2, 3 November 2017 References Michael Krogsgaard: Bob Dylan: The Recording Sessions (Part 4). The Telegraph #56, Winter 1997, pp. 168- 176. Clinton Heylin: Bob Dylan. The Recording Sessions [1960 – 1994]. St. Martin’s Press December 1995, pp 131– 136. Clinton Heylin: Trouble In Mind. Bob Dylan’s Gospel Years. What really happened. Chapter 6. Where I Will Always Be Renewed, (January – February 1980). Lesser Gods 2017.
    [Show full text]
  • Lulu New Routes Mp3, Flac, Wma
    Lulu New Routes mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Funk / Soul / Pop Album: New Routes Country: US Released: 1970 Style: Pop Rock, Soul MP3 version RAR size: 1272 mb FLAC version RAR size: 1392 mb WMA version RAR size: 1358 mb Rating: 4.7 Votes: 685 Other Formats: MIDI RA XM MPC AIFF MP1 AUD Tracklist Hide Credits Marley Purt Drive A1 3:21 Written-By – Barry, Robin & Maurice Gibb* In The Morning A2 3:30 Written-By – Barry Gibb People In Love A3 2:42 Written-By – Eddie Hinton, Grady Smith After All (I Live My Life) A4 3:12 Written-By – Frank Miller, Jim Doris Feelin' Alright A5 3:04 Written-By – Dave Mason Dirty Old Man B1 2:18 Written-By – Delaney Bramlett, Mac Davis Oh Me Oh My (I'm A Fool For You Baby) B2 2:45 Written-By – Jim Doris Is That You Love B3 2:40 Written-By – Jackie Avery, John Farris Mr. Bojangles B4 3:06 Written-By – Jerry Jeff Walker Where's Eddie B5 3:01 Written-By – Donnie Fritts, Eddie Hinton Sweep Around Your Own Back Door B6 2:40 Written-By – Fran Robins Companies, etc. Record Company – Atlantic Recording Corporation Manufactured By – Atlantic Recording Corporation Recorded At – Muscle Shoals Sound Studios Copyright (c) – Atlantic Recording Corporation Published By – Casserole Published By – Bramsdene Published By – Ruler Published By – Nootrac Published By – Irving Published By – Metric Published By – Redwal Published By – Cotillion Music Published By – Danel Music Published By – Blackwood Mastered At – Atlantic Studios Credits Bass – David Hood Design [Album] – Haig Adishian Drums – Roger Hawkins Engineer – Jimmy Johnson , Marlin Greene Guitar – Cornell Dupree, Duane Allman, Eddie Hinton, Jimmy Johnson Keyboards – Barry Beckett Lacquer Cut By – aB* Photography By – Stephen Paley Producer – Arif Mardin, Jerry Wexler, Tom Dowd Notes (C) 1970 Atlantic Recording Corporation Printed in U.S.A.
    [Show full text]
  • Muscle Shoals Sound Records
    WHO'S WHO AT MUSCLE SHOALS SOUND RECORDS 1000 Alabama Avenue, P.O. Box 915, Sheffield, Ala. 35660 (205) 381-9200 Muscle Shoals Sound Records was more or less the natural extension of what had become one of the most successful production organizations in the business. The four principals of the production company, Jimmy Johnson, Barry Beckett, David Hood and Roger Hawkins made up what became the legendary "Muscle Shoals Rhythm Section". Jimmy and Roger met while playing in local bands at school dances and clubs along the state line. They were later members of an early 60's group called the Delrays. At the same time David Hood was playing in a group called the Mystics. Johnson was the first to move into studio work when he began working with producer Rick Hall as an engineer and their session guitarist. By 1964 Jimmy and Roger were working regularly at Fame Studios with the occasional assistance of David Hood, when Hood could get away from his father's tire store a block and a half away from the studio. In 1966 Hawkins and Johnson played on their first million seller, "When A Man Loves A Woman" by Percy Sledge. In 1967 Barry Beckett came to Muscle Shoals to cut "I'm Your Puppet" by James and Bobby Purify. It was about that time that Spooner Oldham, the Muscle Shoals keyboard player, decided to move to Mem- phis. Shortly thereafter, Barry Becket and his family came to Muscle Shoals and the Rhythm Section was formed. By the late 1960's there were 3 studios in Muscle Shoals and the Rhythm Section was working at all of them.
    [Show full text]
  • Jan. 24, 1970 – Mike Bloomfield & Nick Gravenites
    Jan. 24, 1970 – Mike Bloomfield & Nick Gravenites – 750 Vallejo In North Beach, SF “The Jam” Mike Bloomfield and friends at Fillmore West - January 30-31-Feb. 1-2, 1970? Feb. 11, 1970 -- Fillmore West -- Benefit for Magic Sam featuring: Butterfield Blues Band / Mike Bloomfield & Friends / Elvin Bishop Group / Charlie Musselwhite / Nick Gravenites Feb. 28, 1970 – Mike Bloomfield, Keystone Korner, SF March 19, 1970 – Elvin Bishop Group plays Keystone Korner , SF Bloomfield was supposed to show for a jam. Did he? March 27,28, 1970 – Mike Bloomfield and Nick Gravenites, Keystone Korner ***** MICHAEL BLOOMFIELD AND FRIENDS 1970. Feb. 27. Eagles Auditorium, Seattle 1. “Wine” (8.00) This is the encore from Seattle added on the bootleg as a “filler”! The rest is from Long Beach Auditorium Apr. 8, 1971. 1970 1 – CDR “JAMES COTTON W/MIKE BLOOMFIELD AND FRIENDS” Bootleg 578 ***** JANIS JOPLIN AND THE BUTTERFIELD BLUES BAND 1970. Mar. 28. Columbia Studio D, Hollywood, CA Janis Joplin, vocals - Paul Butterfield, hca - Mike Bloomfield, guitar - Mark Naftalin, organ - Rod Hicks, bass - George Davidson, drums - Gene Dinwiddle, soprano sax, tenor sax - Trevor Lawrence, baritone sax - Steve Madaio, trumpet 1. “One Night Stand” (Version 1) (3.01) 2. “One Night Stand” (Version 2) wrong speed 1982 1 – LP “FAREWELL SONG” CBS 32793 (NL) 1992 1 – CD “FAREWELL SONG” COLUMBIA 484458 2 (US) ?? 2 – CD-3 BOX SET CBS ***** SAM LAY 1970 Producer Nick Gravenites (and Michael Bloomfield) Sam Lay, dr, vocals - Michael Bloomfield, guitar - Bob Jones, dr – bass ? – hca ? – piano ? – organ ? Probably all of The Butterfield Blues Band is playing. Mark Naftalin, Barry Goldberg, Paul Butterfield 1.
    [Show full text]
  • Dedicated to the Needs of the Music/Rec Albums
    DEDICATED TO THE NEEDS OF THE MUSIC/REC STRY SEPTEMBER 10, (977 $1.75 SINGLES ALBUMS RITA COOLIDGE, "WE'RE ALL ALONE" (prod. by ALAN O'DAY, "STARTED OUT DANCING, LINDA RONSTADT, "SIMPLE DREAMS." David Anderle) (writer: Boz Scaggs) ENDED UP MAKING LOVE" (prod. by From the album artwork to the record (Boz Scaggs, ASCAP) (3:38). This Steve Barri) (writer: O'Day) (WB, contained within, this is Ronstadt's superb Scaggs ballad was never a ASCAP) (3:21). "Undercover Angel" finest achievement to date. She is in single for the writer, but should be brought O'Day to number one with classic form with Roy Orbison's "Blue Coolidge's second straight pop hit. his first record, and this disco -ori- Bayou," Buddy Holly's "It's So Eeasy" She sings it with feeling and re- ented 'ollow-up has the same play- and the Stones' "Tumbling Dice" while straint. With her album in the top 20, ful eroticism and hook -filled struc- the ballads reflect an introspective side top 40 should react quickly. A&M ture. Look for a speedy chart return. with a sparse arrangement underpin- 1965. Pacific 002 (Atlantic). ning her voice. Asylum 6E-104 (7.98). JIMMY BUFFETT, "CHANGES IN LATITUDES, ART GARFUNKEL, "CRYING IN MY SLEEP" DARYL HALL AND JOHN OATES, CHANGES IN ATTITUDES" (prod. by (prod. by Art Garfunkel & Barry "BEAUTY ON A BACKSTREET." The Norbert Putnam) (writer: Jimmy Buf- Beckett) (writer: Jimmy Webb) (Can- group continues to ride the peak of fett) (Coral Reefer / Outer Banks, opy, ASCAP) (4:00). The first offering their success with this strong follow-up BMI) (3:15).
    [Show full text]
  • October 1994
    Features AARON COMESS Album number two sees Spin Doctors drummer Aaron Comess laying down that slippery funky thing yet again. Not that Aaron has cut down on his extracurricular jazz work. Does this guy ever stop? • Teri Saccone 20 BOB MOSES The eccentric but unarguably gifted drummer who powered the first jazz-rock band is still breaking barriers. With a brand- new album and ever-probing style, Bob Moses explains why his "Simul-Circular Loopology" might be too dangerous in live doses. • Ken Micallef 26 HIGHLIGHTS OF MD's FESTIVAL WEEKEND '94 Where should we start? Simon Phillips? Perhaps "J.R." Robinson? Say, Rod Morgenstein? How about Marvin "Smitty" Smith...or David Garibaldi...maybe Chad Smith, Clayton Cameron, or Matt Sorum.... Two days, one stage, a couple thousand drummers, mega-prizes: No matter how you slice it, it's the mother of all drum shows, and we've got the photos to prove it! 30 Volume 18, Number 9 Cover Photo By Ebet Roberts Columns EDUCATION NEWS EQUIPMENT 52 DRUM SOLOIST 8 UPDATE Max Roach: Bill Bruford, "Blues For Big Sid" David Garibaldi, TRANSCRIBED BY Dave Mancini, CRAIG SCOTT and Ray Farrugia of Junkhouse, plus News 76 HEALTH & SCIENCE 119 INDUSTRY Focal Dystonia: HAPPENINGS A Personal Experience BY CHARLIE PERRY WITH JACK MAKER DEPARTMENTS 42 PRODUCT CLOSE-UP 80 JAZZ 4 EDITOR'S Tama Iron Cobra DRUMMERS' OVERVIEW Bass Drum Pedals WORKSHOP BY ADAM BUDOFSKY Expanding The 6 READERS' 43 Tama Tension Watch Learning Process PLATFORM Drum Tuner BY JOHN RILEY BY ADAM BUDOFSKY 12 ASK A PRO 84 Rock 'N' 44 Vic Firth Ed Shaughnessy, American Concept Sticks JAZZ CLINIC Stephen Perkins, and BY WILLIAM F.
    [Show full text]
  • Rubber Souls: Rock and Roll and the Racial Imagination
    Rubber Souls: Rock and Roll and the Racial Imagination The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Hamilton, John C. 2013. Rubber Souls: Rock and Roll and the Racial Imagination. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:11125122 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Rubber Souls: Rock and Roll and the Racial Imagination A dissertation presented by Jack Hamilton to The Committee on Higher Degrees in American Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of American Studies Harvard University Cambridge, Massachusetts April 2013 © 2013 Jack Hamilton All rights reserved. Professor Werner Sollors Jack Hamilton Professor Carol J. Oja Rubber Souls: Rock and Roll and the Racial Imagination Abstract This dissertation explores the interplay of popular music and racial thought in the 1960s, and asks how, when, and why rock and roll music “became white.” By Jimi Hendrix’s death in 1970 the idea of a black man playing electric lead guitar was considered literally remarkable in ways it had not been for Chuck Berry only ten years earlier: employing an interdisciplinary combination of archival research, musical analysis, and critical race theory, this project explains how this happened, and in doing so tells two stories simultaneously.
    [Show full text]
  • Bob Seger and the Silver Bullet Band Night Moves Mp3, Flac, Wma
    Bob Seger And The Silver Bullet Band Night Moves mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Night Moves Country: Japan Released: 1994 Style: Classic Rock, Soft Rock MP3 version RAR size: 1812 mb FLAC version RAR size: 1893 mb WMA version RAR size: 1734 mb Rating: 4.7 Votes: 483 Other Formats: MIDI MP1 AU AIFF DXD MMF FLAC Tracklist 1 Rock And Roll Never Forgets 3:50 2 Night Moves 5:24 3 The Fire Down Below 4:46 4 Sunburst 5:10 5 Sunspot Baby 4:35 6 Mainstreet 3:41 7 Come To Poppa 3:07 8 Ship Of Fools 3:21 9 Mary Lou 2:55 Companies, etc. Manufactured By – Toshiba EMI Ltd Credits Bass – Chris Campbell (tracks: 1, 2, 3, 4, 9), David Hood (tracks: 5, 6, 7, 8) Co-producer – Jack Richardson (tracks: 2), Punch* (tracks: 1, 3, 4, 9) Drums – Charlie Allen Martin (tracks: 1, 2, 3, 4, 9), Roger Hawkins (tracks: 5, 6, 7, 8) Guitar – Drew Abbott (tracks: 1, 2, 3, 4, 8, 9), Jimmy Johnson (tracks: 5, 6, 7, 8), Joe Miquelon (tracks: 2), Pete Carr (tracks: 5, 6, 7, 8) Piano, Organ – Barry Beckett (tracks: 5, 6, 7, 8), Doug Riley (tracks: 2), Robyn Robbins* (tracks: 1, 3, 4, 9) Producer – Bob Seger, Muscle Shoals Rhythm Section (tracks: 5, 6, 7, 8) Saxophone – Alto Reed (tracks: 1, 2, 3, 4, 9) Written-By – Bob Seger (tracks: 1-6, 8), Earl Randle (tracks: 7), Sam Ling (tracks: 9), Willie Mitchell (tracks: 7), Young Jessie (tracks: 9) Notes Made In Japan.
    [Show full text]
  • Who's Who in Pop Record Production
    WHO'S WHO IN POP RECORD PRODUCTION The following is a list of producers who had at least one single and/or album in the Top Pop 100 charts last year (1986). The producer's name is followed by the (S) song title(s) and/or (LP) album title(s) in quotes, with the artist's name in all capitol letters, followed by a slash and the name(s) of any co- producer(s). Colonel Abrams (S)-(LP)-"Colonel Abrams"-COLONEL ABRAMS-/ /Richard The Bunnymen (S)-(LP)-"Songs To Learn And Sing"-ECHO & THE James Burgess/Rick Dees BUNNYMEN-/Ian Broudie/Bill Drummond/Hugh Jones William Ackerman (S)-(LP)-"Winter's Solstice"-VARIOUS-/Dawn Atkinson Richard James (S)-"Can't Wait Another Minute"-FIVE Alabama (S)-(LP)-"Christmas"-ALABAMA-/Harold Shedd Burgess STAR-/(LP)-"Colonel Abrams"-COLONEL ABRAMS-/Colonel "Alabama Greatest Hits"-ALABAMA-/Harold Shedd Abrams/ /Rick Dees "The Touch"-ALABAMA-/Harold Shedd T-Bone Burnett (S)-(LP)-"King Of America"-ELVIS COSTELLO & THE Teneen Ali (S)-"For Tonight"-NANCY MARTINEZ-/Sergio Munzibal(LP)- ATTRACTIONS-/Declan Patrick A. MacManus Dave Allen (S)-"In Between Days"-THE CURE-/Robert Smith(LP)- Joe Busby (S)-(LP)-"Al I In Love"-NEW EDITION-/Bill Dern Tom Allom (S)-"This Could Be The Night"-LOVERBOY-/Paul Dean Jonathan Cain (S)-"Working Class Man"-JIMMY BARNES-/UP)- "Lead A Double Life"-LOVERBOY-/Paul Richard Calandra (S)-(LP)-"Breakout"-SPYRO GYRA-/Jay Becknestein Dean(LP)-"Turbo"-JUDAS PRIEST-/ The Call (S)-(LP)-"Reconciled"-THE CALL-/Michael Been Pete Anderson (S)-(LP)-"Guitars, Cadillacs, Etc., Etc."-DWIGHT Reggie Calloway (S)-"Headlines"-MIDNIGHT
    [Show full text]
  • Still on the Road 1979 Slow Train Coming Recording Sessions
    STILL ON THE ROAD 1979 SLOW TRAIN COMING RECORDING SESSIONS APRIL 30 Sheffield, Alabama Muscle Shoals Sound Studio, 1st Slow Train Coming session MAY 1 Sheffield, Alabama Muscle Shoals Sound Studio, 2nd Slow Train Coming session 2 Sheffield, Alabama Muscle Shoals Sound Studio, 3rd Slow Train Coming session 3 Sheffield, Alabama Muscle Shoals Sound Studio, 4th Slow Train Coming session 4 Sheffield, Alabama Muscle Shoals Sound Studio, 5th and last Slow Train Coming session Still On The Road: 1979 Slow Train Coming recording sessions 5031 Muscle Shoals Sound Studio Sheffield, Alabama 30 April 1979 1st Slow Train Coming session produced by Jerry Wexler & Barry Beckett. 1. Trouble In Mind 2. Trouble In Mind 3. Trouble In Mind 4. Trouble In Mind 5. Trouble In Mind 6. Trouble In Mind 7. Trouble In Mind 8. Trouble In Mind Bob Dylan (guitar & vocal), Mark Knopfler (guitar), Barry Beckett (piano & organ), Tim Drummond (bass), Pick Withers (drums). Bootleg CD The Genuine Bootleg Series Vol. 3 (track 7) References Michael Krogsgaard: Bob Dylan: The Recording Sessions (Part 4). The Telegraph #56, Winter 1997, pp. 150-176. Clinton Heylin: Bob Dylan. The Recording Sessions [1960 – 1994]. St. Martin’s Press December 1995, pp 129–131. Clinton Heylin: Trouble In Mind. Bob Dylan’s Gospel Years. What really happened. Chapter 2. From Sheffield to Santa Monica, (March – August 1979 & Appendix 1 The Gospel Years: A Chronology). Lesser Gods 2017. Official releases 1 released on Bob Dylan: Trouble No More. The Bootleg Series Vol. 13 1979-1981, Disc Three: Rare and Unreleased, Columbia 88985454652-2, 3 November 2017 7 released on single Columbia 1-11072, September 1979.
    [Show full text]
  • Muscle Shoals Music
    current location in Muscle Shoals. The hits kept coming at the new studio with artists including Aretha Franklin with “Do Right Woman, Do Right Man,” Wilson Pickett’s “Mustang Sally,” Etta James’ “Tell Mama,” Clarence Carter’s “Patches” and The Osmonds’ “One Bad Apple,” to name just a few. In 1972, thanks to his success with The Osmonds, Hall was named Billboard Producer of the Year, the year after having been nominated for a GRAMMY in the same category. At the 2014 GRAMMY Awards, Hall received the prestigious Trustees Award. In 1969 former FAME studio musicians Jimmy Johnson, David Hood, Roger Hawkins and Barry Beckett founded Muscle Shoals Sound Studio at 3614 Jackson Highway in Sheffield. They began cranking out hits with the Rolling Stones’ “Brown “The Swampers” studio band circa 1970 in front of Muscle Shoals Sound Studio WITH Sugar,” Paul Simon’s “Kodachrome” the gold records they amassed while playing for the legendary artists of the time. and the Staple Singers’ “I’ll Take The Birth of the “Hit Recording Capital of the World” You There” along with many others. Muscle Shoals, Alabama struck musical gold with Leighton native The rhythm section was eventually Percy Sledge’s 1966 hit, “When A Man Loves A Woman”, produced immortalized as the “Swampers” by Quin Ivy at NORALA/QUINVY Recording Studio in Sheffield. by Lynyrd Skynyrd in the lyrics to Named as one of the top 100 songs of all time by Rolling Stone “Sweet Home Alabama”. magazine, the song earned the first gold record In 1978 the “Swampers” moved from Muscle Shoals.
    [Show full text]