Für Sonntag, 21

Total Page:16

File Type:pdf, Size:1020Kb

Für Sonntag, 21 InfoMail 23.08.16: Deutsches Musikmagazin "Rolling Stone" mit BEATLES-Titelstory und CD REVOLVER RELOADAD /// MANY YEARS AGO Weitere Info und/oder bestellen: Einfach Abbildung anklicken WhatsApp für MegaKurzInfo: Bitte eine WhatsApp senden: 01578-0866047 (Nummer speziell für WhatsApp geschaltet.) Hallo M.B.M.! Hallo BEATLES-Fan! Im Beatles Museum erhältlich: Deutsche Musikzeitschrift "Rolling Stone" mit Titelstory THE BEATLES - 50 JAHRE REVOLVER und CD REVOLVER RELOADED August 2016: Deutsche Musikzeitschrift "Rolling Stone", Ausgabe 262. 6,90 € Verlag: Axel Springer, Deutschland. Hochformat ca. 30,0 cm x 23,0 cm; 116 Seiten (Titelseite und weitere 14 Seiten über BEATLES); sehr viele Fotos (davon 15 BEATLLES-Fotos); deutschsprachig. Inhalt des Magazins: Titelthema: THE BEATLES - 50 Jahre REVOLVER: Im Jahr 1966 nahmen die BEATLES ihr bestes Album auf und kehrten der Welt den Rücken. Maik Brüggemeyer über REVOLVER und die Folgen. Plus: Coverkünstler KLAUS VOORMANN erzählt seine Geschichte als Graphic Novel. Abbildungen: Magazin mit CD REVOLVER RELOADED weitere Themen: RS-Reportage: Die rechten Hipster: Die "Identitäre Bewegung" inszeniert sich als hippe rechte Kultur - mit "Neofolk" als Soundtrack. Fabian Peltsch und Ralf Niemczyk haben sich in der befremdlichen Nischenwelt umgesehen. Ryley Walker: In Flip-Flops zum Gipfel: Unrasiert, verkatert und auf dem Sprung zum Star: Ryley Walker brilliert mit Psych-Folk. Jan Jekal trifft den Songwriter aus Chicago zu einem Gespräch über Gitarren, Pink Floyd und Europa. Dinosaur Jr.: Der andere Classic Rock: Seit mehr als 30 Jahren sind Dinosaur Jr. eine der besten Rockbands des Planeten, kommen aber ohne Klischees aus. Max Grösche spricht mit Lou Barlow und J. Mascis. Von Neil Young bis Campino: Storys und interviews: Maxim, Hatsune Miku, Torsten Sträter, Adiam, Bear's Den, Rio Reiser u. v.a. August 2016: verschiedene Interpreten: CD REVOLVER RELOADED. Rolling Stone Rare Trax - 100, Deutschland. Inhalt der CD: Track 1: JUNIOR PARTEK: Taxman (George Harrison) (3:45). Track 2: THE FREE DESIGN: Eleanor Rigby (John Lennon / Paul McCartney) (2:47). Track 3: CORNERSHOP: Love You To (George Harrison) (3:24). Track 4: R. STEVIE MOORE: Here There And Everywhere (John Lennon / Paul McCartney) (3:28). Track 5: THE FEELIES: She Said She Said (John Lennon / Paul McCartney) (2:54). Track 6: JIM REID: And Your Bird Can Sing (John Lennon / Paul McCartney) (2:19). Track 7: ROBERT ROTIFER: For No One (John Lennon / Paul McCartney) (2:21). Track 8: LUKE TEMPLE: Doctor Robert (John Lennon / Paul McCartney) (3:41). Track 9: MELVINS: I Want To Tell You (George Harrison) (3:14). Track 10: DANIEL JOHNSTON: Got To Get You Into My Life (John Lennon / Paul McCartney) (4:24). CD-Covergestaltung: KLAUS VOORMANN. Viele Grüße sendet Dir das Team vom Beatles Museum Stefan, Martin, Daniel und sonntags Julia Redaktion THINGS: Rainer (Moers) - Rainer ist am besten telefonisch erreichbar: 0345-2903900, Di. - So., jeweils 10-18 Uhr Bestellungen auch telefonisch möglich: Di. - So. von 10.00 bis 18.00 Uhr; manchmal auch bis 20.00 Uhr: 0345-2903900 Bestellwert unter 50 Euro: geringer Portoanteil für Briefe; für Inland-Pakete maximal 5 Euro. / Ab Bestellwert 50 Euro: innerhalb portofrei; ins Ausland Portoanteil minus 5 Euro. Angebote freibleibend, so lange der Vorrat reicht. Fehler vorbehalten. Auch wenn Angebote nicht mehr lieferbar: InfoMails archivieren wir auf unserer Internetseite. IT WAS MANY YEARS AGO TODAY: 23. August Donnerstag, 23. August 1962: JOHN LENNON und CYNTHIA POWELL heiraten. Freitag, 23. Aug. 1963: BEATLES-Single SHE LOVES YOU in England. Montag, 23. August 1965: Die BEATLES-LP HELP! wird in den USA vergoldet. Beatles Museum, Alter Markt 12, 06108 Halle (Saale) Telefon / phone: 0345-2903900, Fax: 0345-2903900; Email: [email protected]; Internet: www.BeatlesMuseum.net Geöffnet: dienstags bis sonntags und an Feiertagen (außer Weihnachten und Jahreswechsel) jeweils 10.00 bis 18.00 Uhr (nach Absprache auch später - oder morgens früher) Zusätzliche Öffnungszeiten für Gruppen und Schulklassen auf Anfrage; auch abends. Geschlossen: Heiligabend/Weihnachten und Silvester/Neujahr. M.B.M.-STAMMTISCH: jeden ersten Mittwoch im März, Juni, September und Dezember ab 17.30 Uhr. Publikation: BEATLES-Heft "THINGS": ein oder zwei Hefte monatlich: 6 THINGS 22,50 Euro / 12 THINGS 45,00 Euro / 24 THINGS 85,00 Euro / 36 THINGS 119,00 Euro - ohne automatische Verlängerung (nur nach Absprache). Umsatzsteuer-Identifikationsnummer gemäß Paragraf 27 a Umsatzsteuergesetz: DE 206 782 106 .
Recommended publications
  • Rock in the Reservation: Songs from the Leningrad Rock Club 1981-86 (1St Edition)
    R O C K i n t h e R E S E R V A T I O N Songs from the Leningrad Rock Club 1981-86 Yngvar Bordewich Steinholt Rock in the Reservation: Songs from the Leningrad Rock Club 1981-86 (1st edition). (text, 2004) Yngvar B. Steinholt. New York and Bergen, Mass Media Music Scholars’ Press, Inc. viii + 230 pages + 14 photo pages. Delivered in pdf format for printing in March 2005. ISBN 0-9701684-3-8 Yngvar Bordewich Steinholt (b. 1969) currently teaches Russian Cultural History at the Department of Russian Studies, Bergen University (http://www.hf.uib.no/i/russisk/steinholt). The text is a revised and corrected version of the identically entitled doctoral thesis, publicly defended on 12. November 2004 at the Humanistics Faculty, Bergen University, in partial fulfilment of the Doctor Artium degree. Opponents were Associate Professor Finn Sivert Nielsen, Institute of Anthropology, Copenhagen University, and Professor Stan Hawkins, Institute of Musicology, Oslo University. The pagination, numbering, format, size, and page layout of the original thesis do not correspond to the present edition. Photographs by Andrei ‘Villi’ Usov ( A. Usov) are used with kind permission. Cover illustrations by Nikolai Kopeikin were made exclusively for RiR. Published by Mass Media Music Scholars’ Press, Inc. 401 West End Avenue # 3B New York, NY 10024 USA Preface i Acknowledgements This study has been completed with the generous financial support of The Research Council of Norway (Norges Forskningsråd). It was conducted at the Department of Russian Studies in the friendly atmosphere of the Institute of Classical Philology, Religion and Russian Studies (IKRR), Bergen University.
    [Show full text]
  • David Menconi
    David Menconi “But tonight, we’re experiencing something much more demented. Something much more American. And something much more crazy. I put it to you, Bob: Goddammit, what’s goin’ on?” —Dexter Romweber, “2 Headed Cow” (1986) (Or as William Carlos Williams put it 63 years earlier: “The Pure Products of America/Go crazy.”) To the larger world outside the Southeastern college towns of Chapel Hill and Athens, Flat Duo Jets’ biggest brush up against the mainstream came with the self-titled first album comprising the heart of this collection. That was 1990’s “Flat Duo Jets,” a gonzo blast of interstellar rockabilly firepower that turned Jack White, X’s Exene Cervenka and oth- er latterday American underground-rock stars into fans and acolytes. In its wake, the Jets toured America with The Cramps and played “Late Night with David Letterman,” astounding audiences with rock ’n’ roll as pure and uncut as anybody was making in the days B.N. (Before Nirvana). But that kind of passionate devotion was nothing new for the Jets. For years, they’d been turning heads and blowing minds in their Chapel Hill home- town as a veritable rite of passage for music-scene denizens of a certain age. Just about everyone in town from that era has a story about happening across the Jets in their mid-’80s salad days, often performing in some terri- bly unlikely place – record store, coffeeshop, hallway, even the middle of the street – channeling some far-off mojo that seemed to open portals to the past and future at the same time.
    [Show full text]
  • New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry
    New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry by Evan Landon Wendel B.S. Physics Hobart and William Smith Colleges, 2004 SUBMITTED TO THE DEPARTMENT OF COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2008 © 2008 Evan Landon Wendel. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: _______________________________________________________ Program in Comparative Media Studies May 9, 2008 Certified By: _____________________________________________________________ William Uricchio Professor of Comparative Media Studies Co-Director, Comparative Media Studies Thesis Supervisor Accepted By: _____________________________________________________________ Henry Jenkins Peter de Florez Professor of Humanities Professor of Comparative Media Studies and Literature Co-Director, Comparative Media Studies 2 3 New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry by Evan Landon Wendel Submitted to the Department of Comparative Media Studies on May 9, 2008 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies Abstract This thesis explores the evolving nature of independent music practices in the context of offline and online social networks. The pivotal role of social networks in the cultural production of music is first examined by treating an independent record label of the post- punk era as an offline social network.
    [Show full text]
  • The College News 1989-2-2 Vol. 10 No. 7 (Bryn Mawr, PA: Bryn Mawr College, 1989)
    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Bryn Mawr College Publications, Special Bryn Mawr College News Collections, Digitized Books 1989 The olC lege News 1989-2-2 Vol. 10 No. 7 Students of Bryn Mawr College Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/bmc_collegenews Custom Citation Students of Bryn Mawr College, The College News 1989-2-2 Vol. 10 No. 7 (Bryn Mawr, PA: Bryn Mawr College, 1989). This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/bmc_collegenews/1401 For more information, please contact [email protected]. VOLUME X Number February 2, 1989 Plenary: quick quorum; new Code adopted Denison WOOS Myers & family tives and freshwornen to understand? Karen Tidmarsh believes that the BYBEfflSTROUD However, when Carrie Wofford voiced this con- Sophomore Humanities Seminar, which is cern by calling the proposed Code "an Honor being offered for the first time this semester, It may have been the beat Plenary any- Code for juniors and seniors, not for sophomores "wouldn't have happened without her [Dean one remembers We reached quorum—400 and freshmen," suggesting that newer students Myers'] leadership and encouragement." people-by 7:15, COLOR held a bake sale with might not have the background and experience to When Dean Myers first came to Bryn Mawr, chocolate chip cookies and lemon pound cake, Ka- interpret a more generalized i Code, two she strongly believed that the College needed ty Coyie's band, "Kate and the Electric Fish" was freshwornen responded with some of the most to' 'focus more on interdisciplinary [courses] hot, and President McPherson danced on stage passionate speeches of the evening in favor of the and 'general education'." The Humanities with Katy to "Johnnie R Goode" Also, six resolu- resolution.
    [Show full text]
  • International Pop Underground Parks, Van Dyke
    Underground Architects of Modern Pop Music: A Core Collection February 22, 2008, Newport, RI In the summer of 2006 a new music course was launched at Youngstown State University, Underground Architects of Modern Pop Music. The course was a survey of unsung composers, experimentalists, and bands that although commercially unsuccessful by music industry standards, have proven since to be powerfully influential. The artists examined created music for its own sake and recorded and released their music on small, independent labels. In some cases they recorded in their own living rooms or basements, fostering the DIY (Do it yourself) ethic that is now transforming the music business as we know it. The course began with a consideration of the pop music industry, how “hits” are manufactured, the double-edged nature of copyright, and payola. This set the stage for analytical, critical listening, both to the innovators who were virtually unknown at the time and to the chart-topping hits of the time. The contrast between the two was profound and prompted much and vigorous discussion. What emerged is a bibliography of essential recordings, monographs, and DVDs representative of the most influential, “under the radar” artists from the late 1960’s to the early 1990’s, a core collection. Students and scholars in music and an array of interdisciplinary fields will benefit immensely from exposure to the innovations and inventions of the artists and material included here. This Poster Session produced by Thomas Bell, Performing Arts Librarian K – State Libraries, Kansas State University [email protected] | Tel. 785.532.3366 Underground Architects of Modern Pop Music: i A “starter kit” of essential recordings American Composers Rockmore, Clara, Bebe Barron, Peter Ilich Tchaikovsky, Olivier Messiaen, John Cage, Louis Barron, Edgard Varèse, et al.
    [Show full text]
  • Living Colour's
    SCHOOL OF ROCK ON BROADWAY: YOUNG GUNS THE WORLD’S #1 DRUM MAGAZINE WIN A $6,000 TAMA/MEINL KEYS PACKAGE 3TO STAYING CURRENT “YOU’RE TOO LOUD!” DEALING WITH THE DEATH STARE Living Colour’s Will Calhoun INSIDE SHADE AND CELEBRATING ELVIN JONES NOVEMBER 2016 + PLUS + TRIVIUM’S PAUL WANDTKE • READERS’ FAVE SNARE HEADS • DAFNIS PRIETO METHOD BOOK • YAMAHA RECORDING CUSTOM mfg U.S.A. 12 Modern Drummer June 2014 MCD Chain Drive Pedal Ad- 2016 (MD).indd 1 7/25/16 3:18 PM ONLY METAL DRUMMERS SHOULD BE ALLOWED TO USE DOUBLE BASS PEDALS.* * OH, YOU’RE NOT INTO HEADBANGING BUT YOU LIKE YOUR DOUBLE KICK? We know, drummers don’t always agree. Except when it comes to the new Evans UV1 10mil single-ply drumhead. 97% of drummers we asked said UV1 was as or more durable than their old heads, thanks to its patented UV-cured coating. They also overwhelmingly agreed it was livelier and more versatile. And then they hugged. Just kidding. They probably went back to debating double bass pedals. DISAGREE TO AGREE? JOIN THE DEBATE AT UV1.EVANSDRUMHEADS.COM ONLY METAL DRUMMERS SHOULD BE ALLOWED TO USE DOUBLE BASS PEDALS.* * OH, YOU’RE NOT INTO HEADBANGING BUT YOU LIKE YOUR DOUBLE KICK? We know, drummers don’t always agree. Except when it comes to the new Evans UV1 10mil single-ply drumhead. 97% of drummers we asked said UV1 was as or more durable than their old heads, thanks to its patented UV-cured coating. They also overwhelmingly agreed it was livelier and more versatile.
    [Show full text]
  • Thesis an Indie Hype Cycle Built for Two: a Case Study
    THESIS AN INDIE HYPE CYCLE BUILT FOR TWO: A CASE STUDY OF THE PITCHFORK ALBUM REVIEWS OF ARCADE FIRE AND CLAP YOUR HANDS SAY YEAH Submitted by Samuel R. Ernst Department of Communication Studies In partial fulfillment of the requirements For the Degree of Master of Arts Colorado State University Fort Collins, Colorado Spring 2012 Master’s Committee: Advisor: Jonathan Lupo David Scott Diffrient Deborah Thompson ABSTRACT AN INDIE HYPE CYCLE BUILT FOR TWO: A CASE STUDY OF THE PITCHFORK ALBUM REVIEWS OF ARCADE FIRE AND CLAP YOUR HANDS SAY YEAH This thesis investigates the whims of critical reception in the indie rock world and its effects upon the hype cycle. I define the indie hype cycle as a naturalized communicative process governing the flow of critical favor within the indie music community and identify its four primary phases as entrance on to the scene, hype generation, backlash, and obscurity/visibility. To understand the interaction between the hype cycle and critical reception, the project focuses on Arcade Fire and Clap Your Hands Say Yeah (CYHSY) as two bands emblematic of the critical divergence possible after initial success. It compares the reviews of the bands’ debut and sophomore albums by Pitchfork, a prominent indie music website, and identifies genre, elitism, and authenticity as key constructs in the way the site frames the bands as indie, and thus, worthy of praise. I argue that an economy of authenticity—featuring emotional, economic, and talent- based forms—affects the indie hype cycle in a variety of ways. The thesis concludes that the mechanics of indie music criticism have extensive influence upon the indie hype cycle.
    [Show full text]
  • P of Progressive Rock, and from the from the Exclusiveness of Forebears Like the Velvets and Kraftwerk and Roxy and Bowie
    POST-PUNK POST-PUNK 1979 | POST-PUNK Post-punk has a lousy name. It’s temporally accurate, mostly; and meaningful in that post-punk music generally benefited from the jolt of energy and attitude that briefly was punk, even when it was often made by musicians who’d been at it for years. But punk was mostly musically and culturally discrete, insular and self-constrained. Post-punk, conversely, represented a flourishing of many sounds, myriad scenes, and many styles, all with roots reaching back (garage rock, krautrock, funk, jazz, musique concrete, ska) and branches reaching out and intertwining (hip-hop, disco, Latin musics, dub), all while leaning eagerly forward into the future. In part post-punk was the liberation of “art rock” from the virtuosic grip of progressive rock, and from the from the exclusiveness of forebears like the Velvets and Kraftwerk and Roxy and Bowie. It was to varying degrees the breaking down of barriers between “rock” and non-white musics, always with the risk of appropriation; but mostly created with a sincere attitude of learning and engagement, rather than theft. Women in post-punk were not an oddity, an opening act, but were instead at the very center of its most creative scenes in a way rock music had rarely seen. Certainly post-punk was a rejection of “disco-sucks” and cock-rock meatheadedness, as even its simplest power pop forms generally rejected brute machismo. Post-punk was revolutionary in that it helped expand rock music’s typical access to means of production, and broadened the circle of who could be at the forefront; but it was also evolutionary of rock music’s best possibilities, no an ex nihilo event, and as such was made to last.
    [Show full text]
  • Collegian Classified
    14—The Daily Collegian Monday, Oct. 27. IDB6 Spikers' scrimmage a success Divers host meet Monday. We won’t let that The Daily Collegian By DAVE SOTTILE “Keith’s injury kind of put a damp- we’ll get a better idea of what actual- tice on By KEN JOSEPH *up to form. Most divers did not Collegian Sports Writer er on the night, but he’ll recover,” ly went on.” happen again and I’m sure we’ll be Collegian Sports Writer achieve their peak level of perfor- said Tait, whose team took games one One of Tait’s main objectives was fine when the season starts.” arts Monday, 27, mance. Oct. 1986 team over- The men’s volleyball team got its (16-14), two (15-13) and four (15-12) to get each of his possible starters One obstacle the must This weekend 16schools, includ- “This is their first meet of the new season under way Friday night while dropping the third game <l6- some playing time with juniorsetter come is the physical environment of ing the Universities of Pittsburgh, season, so the divgrs really aren’t as the spikers held their annual Blue- 14). "We think Keith will be ready for Javier Gaspar. Rec Hall. Villanova, and the U.S. Naval Aca- polished,” Brown said. “They’re "The lighting in here is tough to White scrimmage at Rec Hall. The use. “What I was trying to by moving demy, traveled to Penn State to making some mistakes, but poten- to,” Tait “especially White squad, led by Head Coach Tom was pretty pleased with the everyone was to give all of the adjust said, participate in the Penn State Div- they’re also making some good “I to we’re used to practicing in .the Toit, captured a 3-1 victory over the calibre of play out there, and I was tial starters a shot play with Jav- since ing Invitational.
    [Show full text]
  • Put It in Scholastic's Calendar for an Evening of Fun 8 the Second City's Drinking Spots Are Second to None
    · .. ...., , '. :' (,' ( • I Contents 1 September 25, 1986 Volume 128, No.3 Have An Event You Want I Scholastic I Cover Stories The Whole Campus To 1 Clubbing In The Windy City by Tim Adams, Keith Harrison and Bob Winn From New Music To Folk Music , Chicago's Clubs Offer An Alternative Know About? 5 To The South Bend Blues Beyond The Five Points by Sean N~alon Put It In Scholastic's Calendar For An Evening Of Fun 8 The Second City's Drinking Spots Are Second To None Brings Items With Times And Dates At Least Two Weeks In Advance To The Scholastic Alternative Entertainment In Chicago by Phil Coghlan Offices On Third Floor LaFortune A Few Suggestions 11 Of What To Do In Chicago Besides Shop And Barhop News Departments 17/ A Matter Of Responsibility 4/Week In Distortion: But My Friends Got In!? 12/Calendar 16/0n Other Campuses: Prank Backfires At Clemson 19/Music: Rapid Ear Movement Sports 24/Final Word: An Open Letter To Father Hesburgh· 20/Another Near Miss .--- .... --~-====~=======!I • I Contents 1 September 25, 1986 Volume 128, No.3 Have An Event You Want I Scholastic I Cover Stories The Whole Campus To 1 Clubbing In The Windy City by Tim Adams, Keith Harrison and Bob Winn From New Music To Folk Music , Chicago's Clubs Offer An Alternative Know About? 5 To The South Bend Blues Beyond The Five Points by Sean N~alon Put It In Scholastic's Calendar For An Evening Of Fun 8 The Second City's Drinking Spots Are Second To None Brings Items With Times And Dates At Least Two Weeks In Advance To The Scholastic Alternative Entertainment In Chicago by Phil Coghlan Offices On Third Floor LaFortune A Few Suggestions 11 Of What To Do In Chicago Besides Shop And Barhop News Departments 17/ A Matter Of Responsibility 4/Week In Distortion: But My Friends Got In!? 12/Calendar 16/0n Other Campuses: Prank Backfires At Clemson 19/Music: Rapid Ear Movement Sports 24/Final Word: An Open Letter To Father Hesburgh· 20/Another Near Miss .--- ...
    [Show full text]
  • Alternative Rock
    Alternative rock From Wikipedia, the free encyclopedia Alternative rock (also called alternative music, alt-rock or simply alternative) is a genre of rock music that emerged in the 1980s and became widely popular in the 1990s. Alternative rock consists of various subgenres that have emerged from the independent music scene since the 1980s, such as grunge, Britpop, gothic rock, and indie pop. These genres are unified by their collective debt to the style and/or ethos of punk rock, which laid the groundwork for alternative music in the 1970s.[1] At times alternative rock has been used as a catch-all phrase for rock music from underground artists in the 1980s, and all music descended from punk rock (including punk itself, New Wave, and post-punk). While a few bands like R.E.M. and The Cure achieved commercial success and mainstream critical recognition, many alternative rock artists during the 1980s were cult acts that recorded on independent labels and received their exposure through college radio airplay and word-of-mouth. With the breakthrough of Nirvana and the popularity of the grunge and Britpop movements in the 1990s, alternative rock entered the musical mainstream and many alternative bands became commercially successful. The term "alternative rock" Before the term "alternative rock" came into common usage around 1990, the sort of music to which it refers was known by a variety of terms.[2] "College rock" was used in the United States to describe the music during the 1980s due to its links to the college radio circuit and the tastes of college students.
    [Show full text]
  • Scott's Favorite Albums, 1965-1999
    Scott's Favorite Albums: 1965-1999 1965 1 HELP! - The Beatles 2 RUBBER SOUL - The Beatles 3 OUT OF OUR HEADS - The Rolling Stones 4 GOING TO A GO-GO - Smokey Robinson and the Miracles 5 HIGHWAY 61 REVISITED - Bob Dylan 6 THE WHO SING MY GENERATION - The Who 7 MR. TAMBOURINE MAN - The Byrds 8 THE SOUNDS OF SILENCE - Simon and Garfunkel 9 KINKS SIZE - The Kinks 10 THE TEMPTATIONS SING SMOKEY - The Temptations 11 TURN TURN TURN - The Byrds 12 BRINGING IT ALL BACK HOME - Bob Dylan 13 THEM - Them 14 SUMMER DAYS (AND SUMMER NIGHTS) - The Beach Boys 15 OTIS BLUE - Otis Redding 16 DECEMBER'S CHILDREN (AND EVERYBODY'S) - The Rolling Stones 17 POPPA'S GOT A BRAND NEW BAG - James Brown 18 OVER UNDER SIDEWAYS DOWN - The Yardbirds 19 FOUR TOPS' SECOND ALBUM - The Four Tops 20 I AIN'T A-MARCHIN' NO MORE - Phil Ochs 1966 1 REVOLVER - The Beatles 2 PET SOUNDS - The Beach Boys 3 BLONDE ON BLONDE - Bob Dylan 4 MORE OF THE MONKEES - The Monkees 5 AFTERMATH - The Rolling Stones 6 WALK AWAY RENEE/PRETTY BALLERINA - The Left Banke 7 5D - The Byrds 8 IF YOU CAN BELIEVE YOUR EYES AND EARS - The Mamas and the Papas 9 SHAPES OF THINGS - The Yardbirds 10 HAPPY JACK - The Who 11 PARSLEY, SAGE, ROSEMARY AND THYME - Simon and Garfunkel 12 SOPHISTICATED BEGGAR - Roy Harper 13 BUFFALO SPRINGFIELD - Buffalo Springfield 14 THE EXCITING WILSON PICKETT - Wilson Pickett 15 I GOT YOU (I FEEL GOOD) - James Brown 16 SUNSHINE SUPERMAN - Donovan 17 I FOUGHT THE LAW - The Bobby Fuller Four 18 JEFFERSON AIRPLANE TAKES OFF - Jefferson Airplane 19 THE MONKEES - The Monkees 20 HUMS OF THE LOVIN' SPOONFUL - The Lovin' Spoonful 1967 1 SERGEANT PEPPER'S LONELY HEARTS CLUB BAND - The Beatles 2 ARE YOU EXPERIENCED? - Jimi Hendrix Experience 3 THE VELVET UNDERGROUND AND NICO - The Velvet Underground 4 THE DOORS - The Doors 5 THE PIPER AT THE GATES OF DAWN - Pink Floyd 6 NEVER LOVED A MAN THE WAY THAT I LOVE YOU - Aretha Franklin 7 PISCES, AQUARIUS, CAPRICORN & JONES LTD.
    [Show full text]