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Lasa Journal 8 Pp.36- 43) to Set up a Working Group with Us
laSa• International Association of Sound and Audiovisual Archives Association Internationale d' Archives Sonoreset Audiovisuelles Internationale Vereinigung der Schall- und Audiovisuellen Archive laSa• journal (formerly Phonographic Bulletin) no. 9 May 1997 IASA JOURNAL Journal of the International Association of Sound and Audiovisual Archives IASA Organie de l'Association Internationale d'Archives Sonores et Audiovisuelle IASA Zeitschchrift der Internationalen Vereinigung der Schall- und Audiovisuellen Archive IASA Editor: Chris Clark, The British Library National Sound Archive, 29 Exhibition Road, London SW7 2AS, UK. Fax 441714127413, e-mail [email protected] Reviews and Recent Publications Editor: Pekka Gronow, Finnish Broadcasting Company, PO Box 10, SF-00241, Helsinki, Finland. Fax 358014802089 The IASA Journal is published twice a year and is sent to all members of IASA. Applications for membership of IASA should be sent to the Secretary General (see list of officers below). The annual dues are 25GBP for individual members and 100GBP for institutional members. Back copies of the IASA Journal from -1971 are available on application. Subscriptions to the current year's issues of the IASA Journal are also available to non-members at a cost of 35GBP. Le IASA Journal est publie deux fois I'an et distribue a tous les membres. Veuilliez envoyer vos demandes d'adhesion au secretaire dont vous trouverez I'adresse ci-dessous. Les cotisations anuelles sont en ce moment de 25GBP pour les membres individuels et 100GBP pour les membres institutionelles. Les numeros precedeentes (a partir de 1971) du IASA Journal sont disponibles sure demande. Ceux qui ne sont pas membres de I' Assoociation puevent obtenir un abonnement du IASA Journal pour I'annee courante au cout de 35GBP. -
University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand marking: or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Slim Dusty Movie Music Credits
Music Production Rod Coe (Cast, singing) Slim Dusty Joy McKean Anne Kirkpatrick and the Travelling Country Band David Kirkpatrick Gordon Parsons Buck Taylor (Tail credits) The Travelling Country Band Lead Guitar Mick Reid Fiddle and Mandolin Mike Kerin Drums Alan Hockley Banjo and Dobro Ian Simpson Pedal Steel Michel Rose Bass Guitar Bill Graham Location Sound Supervisor Paul Clark Boom Operator/ Recordist Steve Haggerty AAV Technical Supervision Steve Pyle Music Engineer Scott Heming Sound Assistant Chris Piper Concert Sound Mixer Clive Jones Featured Music Where Country is Barry "Morchi" Moyses The Band Played on Traditional Song for the Aussies Slim Dusty Aristocrat Tex Morton Simmo's Tune Ian Simpson Old Sunlander Van Joy McKean Anne Kirkpatrick G. Paige Losin' my Blues Tonight Slim Dusty Wind up Gramophone Joy McKean Trouble Joy McKean Walk a Country Mile Joy McKean Old Feller Joy McKean Drownin' my Blues Slim Dusty My Final Song Slim Dusty When the Rain Tumbles down in July Slim Dusty Camoweal "Mack" Cormack So many Ballads to Play Slim Dusty The Man from the Northland Buck Taylor Old Time Country Halls Slim Dusty Biggest Disappointment Joy McKean Lights on the Hill Joy McKean Gymkhana Yodel Joy McKean Stay Away from me Slim Dusty Keep the Love Light Shining Joy McKean Country Revival Slim Dusty The Isa Rodeo Slim Dusty Stan Coster Rough Riders Slim Dusty A. E. Brooks Cunnamulla Feller Stan Coster Isa R. Ryan Plains of Peppimenarti Slim Dusty How will I go with him Mate "Mack" Cormack Just Rollin' Slim Dusty Pushin' Time Slim Dusty A. E. -
20Th Annual International Country Music Conference Nashville Tn
20TH ANNUAL INTERNATIONAL COUNTRY MUSIC CONFERENCE NASHVILLE TN K A S E Y C H A M B E R S: V O C A L S T Y L E A N D C U L T U R A L I D E N T I T Y L E I G H C A R R I A G E ‘You know things are going to hell when the freshest young voice in American roots music is an Australian.’ Rolling Stone (Sheffield, 2001: 73) Kasey Chambers is redefining the image and sound of alternative country music. Her style is challenging notions of cultural musical identity and the vocal characteristics that are associated with a particular environment. The ways in which Chambers approaches Country Music and the connection to the development of cultural identity is reflected in her music . The connection of what? In this paper I will touch on the phenomenon of her broad Australian-speaking accent and her American accented singing voice. The success of Chambers’ sound raises vital issues about the national character in Australian popular music. It is an interesting representation of the globalisation of international music culture that an Australian singer is being so highly regarded in the North American press as representing the latest (re-) incarnation of American roots/country music. In order to understand and comment comprehensively on the implications of foreign sources, cultural influences and their combined impact on new practices, in particular with Chambers, a thorough analysis must include music and industry marketing, musical fashion and tastes, lyrics and musical style, instrumentation, arranging and orchestration. -
“Covering” the Bluesman from a Distance
Introduction In many ways, my journey towards this thesis topic began with my brother’s music collection. Throughout my teens he would introduce me to a wide range of local and international acts, many of which were influenced by African-American blues artists. This influence is evident in both their construction of sound and the old songs that they rerecorded. From there I began tracing musical influences from song credits and interview excerpts—a path often travelled by musicians and fans alike—that would eventually lead me to an appreciation of blues music. The penultimate step towards this topic came in the form of my honours thesis—a creative project that involved rerecording several tracks from the catalogue of an early Australian country music artist, one of which was titled “Blue Mountain Blues”.1 From there I turned to blues music in Australia. Initially conceived as a history of “Australian blues”, it became apparent that this proposed sub-genre struggled to unify and explain the disparate musical styles contained therein. Although each artist was clearly addressing the musical characteristics and influences I had come to recognise as “blues music”, it all sounded different. In the meantime, I developed a keen interest in a fellow colleague’s thesis topic that addressed the role of “covers” within the Australian music industry (Giuffre, 2005). My epiphany—and catalyst for the current thesis topic—eventually presented itself while viewing a live performance from Peter Green Splinter Group. The concert was split into two courses: an acoustic entrée featuring several Robert Johnson “covers”; and, an electric main with side dishes of early Fleetwood Mac material—the band Green had help found many years ago. -
Lewin's Natural Talent Spirit of Conan Doyle Crazy
–Magazine for members Autumn 2012 SL Lewin’s natural talent Spirit of Conan Doyle Crazy hillbillies Mardi Gras Message Lewin: Wild Art, which opens in early March and is featured in this issue, is the latest of many large-scale exhibitions mounted by the State Library to expose our collections, and inform, educate, inspire and amaze our ontents clients and visitors. Autumn 2012 The effort and skill our curators and designers invest in our exhibitions reflects the significance of revealing the extraordinary items NEWS NEW DAYS OF we hold and the importance of telling their stories, often stories which 4 30 Mapmaker’s 500th eRECORDS have not previously been told. In the case of Lewin: Wild Art, it is the Refreshing the foyer story of John Lewin, his depictions of Australian flora and fauna and 32 NEW ACQUISITIONS the development of illustration and printmaking in the recently Far out! Mission life* established colony of New South Wales. Accompanied by a handsome Caddy for Koons Talking fish book, Mr JW Lewin: Painter and Naturalist, this exhibition helps us Paul Brunton OAM understand how the new arrivals came to know Australia. 34 BUILDING A STRONG Our times It is this bigger story of how we get to know our country, our people FOUNDATION and ourselves which is the focus of our exhibitions program. Tourists, A new journey C 8 ON THIS DAY visitors, students and specialists drop into our galleries and also view SL Rediscovering the exhibitions online. From big shows like Lewin: Wild Art and the EXHIBITION THE MAGAZINE FOR STATE LIBRARY OF NSW 10 Indigenous FOUNDATION MEMBERS, just-closed Finding Antarctica to small displays, pop-ups and online MACQUARIE STREET FRIENDS AND VOLUNTEERS Natural talent: SYDNEY NSW 2000 Languages journeys (including Discover Collections on our website), our IS PUBLISHED QUARTERLY PHONE (02) 9273 1414 John Lewin BY THE LIBRARY COUNCIL On the high seas exhibitions inform and surprise. -
Jemf Quarterly
JEMF QUARTERLY JOHN EDWARDS MEMORIAL FOUNDATION VOL XIV SPRING 1978 No. 49 Digitized by the Internet Archive in 2013 http://archive.org/details/jemfquarterlyser1978john . — LETTERS Sir: Here's some microtrivia that may be of use to have had previous experience in the phonograph someone: the people sitting in the second row in record business and possibly had an interest in the picture of the WNAX "Dinner Bell Roundup" cast a NYRL in NYC. At any rate there is the re- on p. 110 of JEMFQ #43 spent some time in Maine. peated second-hand story that Satherley record- Jimmy and Dick (The Novelty Boys) and their troupe ed some NYRL material in a similarly named stu- summered in the Bangor area 1939-42 and again in dio in NYC. the late '40s (I believe). Jimmie Pierson and Dick The first record was pressed in Grafton Klasi were the core of the group. Jimmie 's bro- (their only pressing plant, a few miles from ther "Flash Willie" in Bernard Haeerty's (mentioned their furniture factory in Port Washington) on article on Radio Station WNAX \_JEMFQ #40, p. 18l]) 29 June 1917. played fiddle. Cora Dean ("the Kansas City Kitty") was the Pierson brothers' sister and married to In a building across from the pressing Dick. Jimmie was married (or otherwise attached) plant a recording facility (electrical) was to a lady named Dot. They were enormously popular started in about the end of 1927. Marsh Studios everyone remembers them. My memory is hazy, but in Chicago, a New York recording studio, Gennett one of the women died, her husband had some kind Studios in Richmond and other recording facili- of breakdown and the group broke up. -
Whiter Rock: Why the Easybeats Didn't Suceed In
Oz Rock and the ballad tradition in Australian popular music ‘While we are sitting here, singing folksongs, in our folksong clubs, the folk are somewhere else, singing something different.’ Quoted in Jeff Corfield ‘The Australian Style’1 Billy Thorpe and the Aztecs, and the Twilights, discussed in chapter one, were manifestations of an Australian popular music sensibility which was fundamentally European-derived, white. It was a tradition that valued melody, musical linearity and lyrical clarity. These bands, in particular Billy Thorpe and the Aztecs, and the Easybeats, laid the basis for the flowering of Australian rock in the 1970s and for Oz Rock groups such as Rose Tattoo, the Angels, Midnight Oil, Cold Chisel, Australian Crawl, and, in the 2000s, You Am I and Powderfinger among others.2 This tradition has continued to blend melody with strong guitar riffs and a big beat. Billy Thorpe’s self-penned ‘Most People I Know (Think That I’m Crazy)’, released in 1972, with its melody, driving beat and anthemic chorus combined with an emphasis on the lyrics, provided a template for Australian rock, for a tradition of bands—those Oz Rock bands that I mentioned above—whose success in Australia has, in the main, continued to be far greater than what they have achieved overseas.3 This tradition continues to privilege elements drawn from the white, European musical tradition over influences from African-American, and other Black musics. This hard rock development in Australia has another strand, the importance of the traditional ballad tradition and, along with this, the influence of American country music. -
Reading the Historical Phenomenon of Australian Bushrangers
READING THE HISTORICAL PHENOMENON OF AUSTRALIAN BUSHRANGERS Yohanes Hartadi English Department, Atma Jaya Indonesian Catholic University, Jln. Jenderal Sudirman No. 51, Jakarta Selatan 12930 ABSTRACT Outlaws in their various images have been important parts of history. In Australia, the longest lasting image of outlaws is the bushranger. Despite its popularity, there is a range of depictions of bushrangers and these are not necessarily similar. Interpretation of the bushrangers in colonial time differs from contemporary imagining. This papers aims at unfolding the various interpretations of the bushrangers in different periods in many types of artifact. Information was collected and interpreted by library research. The artifact analysis will be seen through a postmodernism theory by Michel Foucault and Roland Barthes. Since the phenomenon of bushranger stemmed from the colonial period, this study will commence from the period up to contemporary period. It can be concluded that a study of the different periods finds out that knowledge of the bushrangers does not make up a linear history, but rather a discontinuity in the historical narratives. Keywords: history, bushranger, Australian bushranger ABSTRAK Orang yang tidak taat hukum (penjahat) dalam gambaran yang berbeda adalah merupakan bagian sejarah yang penting. Di Australia, gambaran nyata bagi orang tak taat hukum adalah pengembara/petualang di hutan. Selain popularitas, terdapat berbagai gambaran berbeda tentang petualang tersebut. Interpretasi pada jaman kolonial berbeda dengan gambaran di masa kontemporer. Artikel bertujuan menunjukkan berbagai interpretasi terhadap petualang pada masa dan artefak berbeda. Informasi diperoleh dengan penelitian pustaka. Analisis artefak dilakukan dengan teori postmodernisme dari Michel Foucault dan Roland Barthes. Disimpulkan, studi dalam berbagai masa menunjukkan bahwa pengetahuan tentang petualang bukan merupakan sejarah linier, tetapi lebih pada ketidakberlangsungan dalam cerita sejarah. -
INDEPENDENT AUSTRALIAN LABELS 1955 to 1990
AUSTRALIAN RECORD LABELS INDEPENDENT AUSTRALIAN LABELS 1955 to 1990 COMPILED BY MICHAEL DE LOOPER OCTOBER 2019 AUSTRALIAN INDIE LABELS, 1955–1990 ACKNOWLEDGEMENTS GRATEFUL THANKS TO: HANK B. FACER, FOR HIS ‘LOGO’ MUSEUM OF INDIGENOUS RECORDING LABELS, CHRIS SPENCER, FOR HIS AUSTRALIAN MUSIC MUSEUM, THE CONTRIBUTORS TO 45CAT.COM, DISCOGS.COM, RATEYOURMUSIC.COM AND MILESAGO, MARK GREGORY’S AUSTRALIAN FOLK SONGS WEBSITE AT FOLKSTREAM.COM THE NATIONAL FILM AND SOUND ARCHIVE, AND MUSIC AUSTRALIA, FOR THEIR ON-LINE CATALOGUES, ANDREW AINSWORTH, ALISTAIR BANFIELD, HARRY BUTLER, BILL CASEY, HEDLEY CHARLES, MICHAEL DEN HARTOG, DAVID HUGHES, DAVID KENT, ROSS LAIRD, JACK MITCHELL, IAN D. ROSS, GJERMUND SKOGSTAD, BRIAN WAFER, AND CLINTON WALKER LATE, GREAT COLLEAGUES GEORGE CROTTY, DEAN MITTELHAUSER, RON SMITH AND MIKE SUTCLIFFE FOR THEIR LOVE OF AUSTRALIAN MUSIC AND FOR THEIR PIONEERING RESEARCH. SOME PRESSING INFORMATION NUMBERS OR LETTERS PRINTED ON THE RECORD LABEL OR INSCRIBED IN THE RUN-OFF WAX OFTEN GIVES CLUES ABOUT WHICH RECORD COMPANY PRESSED THE RECORD, AND WHEN IT WAS PRESSED. TYPICAL PREFIXES INCLUDE: 7XS EMI CUSTOM RECORDING AW RADIOLA/AWA CUSTOM RECORDING CWG W&G CUSTOM RECORDING DB RCA DOTTED TRIANGLE SHEARD & CO. FH ASTOR MA ASTOR CUSTOM PRESSING MX FESTIVAL, OR AUSTRALIAN RECORD COMPANY / CBS PRS, YPRX EMI CUSTOM RECORDING RRC, RRCS RANGER CUSTOM RECORDING SMX FESTIVAL 2 AUSTRALIAN INDIE LABELS, 1955–1990 CAT. NO. TITLE(S) FORMAT / MX NO. / NOTES ARTIST(S) DATE 3333 RECORDS DISTRIBUTED BY MUSICLAND. MUSLP 3333 LIVE AT SING SING LP THE BACHELORS FROM PRAGUE 1986 3333/1 THE ENERGETIC COOL CD THE BACHELORS FROM PRAGUE 5.88 MUS SP 3333/2 GO / EVEN DISHWASHERS GET THE BLUES BACHELORS FROM PRAGUE 9.88 3333/3 THE ENERGETIC COOL LP THE BACHELORS FROM PRAGUE 1988 SP 3333/3 TIGHTROPE / THE OUTSIDER 7” BACHELORS FROM PRAGUE 3.89 TO MERCURY RECORDS, THROUGH PHONOGRAM AARON RECORDS PB 0001 MAMA / THAT LUCKY OLD SUN DAVID J. -
Overlanders Trail Booklet
279 0923 Tex Morton Reg Lindsay June Holms Johnny Ashcroft Buddy Williams Bob Dyer Art Leonard and many more Down The Overlander’s Trail THE EARLY DAYS OF COUNTRY MUSIC IN AUSTRALIA There was a time when country music ruled the Australian capital city radio airwaves. This was the transportation by sea freight meant unbelievably long delays in getting the songs into the local market. 1940s and early 1950s when we didn’t feel as ‘musically pigeon-holed’ as today. There was also a lot of These local recordings were known as ‘cover’ versions and our earliest country pioneers were actually ‘light classical’ music available but it was ‘country and western’, for that’s what it was called, that you artists who recorded popular covers for the local radio and gramophone industries. heard when you tuned into the more popular stations. In some ways it was a strange music and, more often than not, performed live in the studio – and sounded like it! A typical radio station ‘band’ would Radio talent shows, forerunners to today’s shows like Australia’s Got Talent attracted country artists be comprised of piano accordion, harmonica, acoustic guitar and drums. There was also a sound effects including some who actually wrote their own material. Many of these artists, including the great Tex person ready to provide turning wagon wheels, clip clop hooves and even the occasional cracking Morton, were part country artist and part vaudeville. Some, like Bob Dyer, were complete showmen stockwhip. The songs were introduced in a congenial style reminiscent of homespun yarners fresh from from the vaudeville circuit. -
Gawler Country Music Club Awler
Pass this on to your friends Membership Application Form Gawler Country Music Club Inc P.O. Box 1132 Gawler SA 5118 Ph: (08) 8255 8920 GGGawlerGawler Country Music Club Newsletter of the Name: (Please Print) DOB (Optional… Day and month only): Gawler Country Music Club Inc Address: Suburb/Town: Post Code: May 2006 ‘Hats Off to Smoky’ No:156 Tel: Mobile: Annual Membership Fee: $10.00 Memb. No. (For Office Use):………………. Smoky Dawson is recognized as one of the My Favourite Country Music Artists are:…………………………………………………………………………. earliest pioneers of country music in Do you sing or play a musical instrument?............................................................................................................... Australia. I agree to abide by the constitution and rules of the club: Signature……………………………Date.................. He made his first recording in 1941, just five years after Tex Morton the "Yodelling Please send this form with your cheque or P.O. (Not Cash) to The Secretary at the above address Boundary Rider” who was Australia’s very first Country Music recording star. In the following six decades, Smoky was to become a household name in Australia, and made an impact on the Nashville country Dance Sit Listen Chat Play Eat ‘n’ Sip music industry in America. Smoky was, in fact, the first artist to record for the famous Acuff-Rose Hickory label in Come along and Enjoy the States and performed at the Grand Ole Opry in the early 1950s. After returning home to Australia from America, the famous Smoky Dawson Show debuted on Australian radio. It ran for the Gawler next 10 years. Smoky Dawson Country Music Club Inc Smoky was elevated to the Country Music During the Second World War, Smoky served in the Newsletter Roll of Renown in 1978 and he was awarded first Australian Entertainment Unit.