A Besame Mucho (1.) 6 Jun 1962 2T PS I Love You
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BWTB Nov. 13Th Dukes 2016
1 Playlist Nov. 13th 2016 LIVE! From DUKES in Malibu 9AM / OPEN Three hours non stop uninterrupted Music from JPG&R…as we broadcast LIVE from DUKES in Malibu…. John Lennon – Steel and Glass - Walls And Bridges ‘74 Much like “How Do You Sleep” three years earlier, this is another blistering Lennon track that sets its sights on Allen Klein (who had contributed lyrics to “How Do You Sleep” those few years before). The Beatles - Revolution 1 - The Beatles 2 The first song recorded during the sessions for the “White Album.” At the time of its recording, this slower version was the only version of John Lennon’s “Revolution,” and it carried that titled without a “1” or a “9” in the title. Recording began on May 30, 1968, and 18 takes were recorded. On the final take, the first with a lead vocal, the song continued past the 4 1/2 minute mark and went onto an extended jam. It would end at 10:17 with John shouting to the others and to the control room “OK, I’ve had enough!” The final six minutes were pure chaos with discordant instrumental jamming, plenty of feedback, percussive clicks (which are heard in the song’s introduction as well), and John repeatedly screaming “alright” and moaning along with his girlfriend, Yoko Ono. Ono also spoke random streams of consciousness on the track such as “if you become naked.” This bizarre six-minute section was clipped off the version of what would become “Revolution 1” to form the basis of “Revolution 9.” Yoko’s “naked” line appears in the released version of “Revolution 9” at 7:53. -
KLOS March 30Th 2014 Denny Laine
1 1 2 2 3 9AM I’m sad to say that I’m dedicating this first couple of songs here to our dear friend Stan …you know him as Stan the Hot Sauce Man….whose Mom Marion passed away yesterday…Now we got to know Marion here on BWTB quite well…as she came hung out with us more than a few times She also made me that British Flag quilt blanket And BWTB pillow…that we often talked about…she came down to all the events at Capitol Records…Just Imagine shows…everyone loved her…and she will certainly be missed…and here is Marion’s favorite Beatles song. 3 4 The Beatles - If I Fell - A Hard Day’s Night (Lennon-McCartney) Lead vocal: John and Paul John Lennon’s stunning ballad “If I Fell” was by far the most complex song he had written to date. It could be considered a progression from “This Boy” with its similar chord structure and intricate harmonies by John and Paul, recorded – at their request – together on one microphone. Performed live on their world tour throughout the summer of 1964. Completed in 15 takes on February 27, 1964. Flip side of “And I Love Her” in the U.S. On U.S. album: A Hard Day’s Night - United Artists LP Something New - Capitol LP The Beatles - In My Life - Rubber Soul (Lennon-McCartney) Lead vocals: John with Paul Recorded October 18, 1965 and written primarily by John, who called it his “first real major piece of work.” Of all the Lennon-McCartney collaborations only two songs have really been disputed by John and Paul themselves -- “Eleanor Rigby” and “In My Life.” Both agree that the lyrics are 100% Lennon, but John says Paul helped on the musical bridge, while Paul recalls writing the entire melody on John’s Mellotron. -
Song Lyrics ©Marshall Mitchell All Rights Reserved
You Don’t Know - Song Lyrics ©Marshall Mitchell All Rights Reserved Freckled Face Girl - Marshall Mitchell © All Rights Reserved A freckled face girl in the front row of my class Headin’ Outta Wichita - Harvey Toalson/Marshall Mitchell On the playground she runs way too fast © All Rights Reserved And I can’t catch her so I can let her know I think she is pretty and I love her so Headin’ outta Wichita; we’re headed into Little Rock tonight And we could’ve had a bigger crowd but I think the band was sounding pretty tight She has pigtails and ribbons in her hair With three long weeks on this road there ain’t nothing left to do, you just listen to the radio When she smiles my heart jumps into the air And your mind keeps a’reachin’ back to find that old flat land you have the nerve to call your home And all through high school I wanted her to know That I thought she was pretty and I loved her so Now, you can’t take time setting up because before you know it’s time for you to play And you give until you’re giving blood then you realize they ain’t a’listenin’ anyway I could yell it in assembly And then you tell yourself that it can’t get worse and it does, and all you can think about is breaking down I could write it on the wall And then you find yourself back on the road following a dotted line to another town Because when I am around her I just cannot seem to speak at all I wanna see a starlit night and I wanna hold my baby tight again While in college I saw her now and then And I’m really tired of this grind and I’d sure like to see the face -
Songs of the Vietnam War Lyrics
The Limits of Power: The United States in Vietnam Name:______________________________________________ 2 Online Lesson Songs of the Vietnam War Lyrics Introduction: Throughout history, the strong feelings raised by the sacrifices, ideals, heartbreaks, and triumphs of war have often been expressed by poets and artists in songs. Songs that best cap- tured the strong feelings of Americans became very popular and lived on long after the details of the conflict were forgotten. Whether they expressed patriotism and national ideals such as inThe Star-Spangled Banner and The Battle Hymn of the Republic, sacrifice and heroism such as inWhen Johnny Comes Marching Home, or disappointment and loss such as All Quiet Along the Potomac Tonight, these songs have become part of the history. The Vietnam War was no exception. Below is a small selection of the many songs written by Americans, Vietnamese, and French about the Vietnam War. Lyndon Johnson Told the Nation By Tom Paxton (1965, folk) < http://youtu.be/JQqapCkf4Uc> I got a letter from L.B.J., it said, “This is your lucky day. It’s time to put your khaki trousers on. Though it may seem very queer, we’ve got no jobs to give you here, so we are sending you to Viet Nam” chorus And Lyndon Johnson told the nation, “Have no fear of escalation, I am trying ev’ryone to please. Though it isn’t really war, we’re sending fifty thousand more to help save Viet Nam from Viet Namese.” I jumped off the old troop ship, I sank in mud up to my hips, And cussed until the captain called me down, “never mind how hard it’s raining, Think of all the ground we’re gaining, just don’t take one step outside of town.” Every night the local gentry slip out past the sleeping sentry They go out to join the old V.C. -
Yellowsubmarinesongtrack.Pdf
UK Release: 13 September 1999 US Release: 14 September 1999 Running Time: 45.40 Vinyl: Apple 521 4811 CD: Apple 521 4812 Producers: George MartinIPeter Cobbin Vinyl: Side A: Yellow Submarine; Hey Bulldog; Eleanor Rigby; Love You To; All Together Now; ~ucyIn The Sky With Diamonds; Think For Yourself; Sgt. Pepper's Lonely Hearts Club Band; With A Little Help From My Friends Side B: Baby, You're A Rich Man; Only A Northern Song; All You Need Is Love; When I'm Sixty- Four; Nowhere Man; It's All Too Much CD: Yellow Submarine; Hey Bulldog; Eleanor Rigby; Love You To; All Together Now; Lucy In The Sky With Diamonds; Think For Yourself; Sgt. Pepper's Lonely Hearts Club Band; With A Little Help From My Friends; Baby, You're A Rich Man; Only A Northern Song; All You Need Is Love; When I'm Sixty-Four; Nowhere Man; It's All Too Much When Yellow Submarine was first released in January 1969, coinciding with the animated Cartoon film, the only Beatles tracks were on side one. There were just six of them - 'Yellow Submarine', 'Only A Northern Song', 'All Together Now', 'Hey Bulldog', 'It's All Too Much' and 'All You Need Is Love' - and only four of them were new. Side two was devoted entirely to George Martin's musical score for the movie. Thirty years later it was decided to restore the film, digitalising the soundtrack in the process, and the songtrack album is a result of that remastering. Released in 1999, it was the first collection of Beatles songs to get a digital remix, but more significantly it dispensed with the film score that had appeared on side two and included instead most of the other songs featured in the film that hadn't appeared on the earlier LP. -
7. Annie's Song John Denver
Sing-Along Songs A Collection Sing-Along Songs TITLE MUSICIAN PAGE Annie’s Song John Denver 7 Apples & Bananas Raffi 8 Baby Beluga Raffi 9 Best Day of My Life American Authors 10 B I N G O was His Name O 12 Blowin’ In the Wind Bob Dylan 13 Bobby McGee Foster & Kristofferson 14 Boxer Paul Simon 15 Circle Game Joni Mitchell 16 Day is Done Peter Paul & Mary 17 Day-O Banana Boat Song Harry Belafonte 19 Down by the Bay Raffi 21 Down by the Riverside American Trad. 22 Drunken Sailor Sea Shanty/ Irish Rover 23 Edelweiss Rogers & Hammerstein 24 Every Day Roy Orbison 25 Father’s Whiskers Traditional 26 Feelin’ Groovy (59th St. Bridge Song) Paul Simon 27 Fields of Athenry Pete St. John 28 Folsom Prison Blues Johnny Cash 29 Forever Young Bob Dylan 31 Four Strong Winds Ian Tyson 32 1. TITLE MUSICIAN PAGE Gang of Rhythm Walk Off the Earth 33 Go Tell Aunt Rhody Traditional 35 Grandfather’s Clock Henry C. Work 36 Gypsy Rover Folk tune 38 Hallelujah Leonard Cohen 40 Happy Wanderer (Valderi) F. Sigismund E. Moller 42 Have You ever seen the Rain? John Fogerty C C R 43 He’s Got the Whole World in His Hands American Spiritual 44 Hey Jude Beattles 45 Hole in the Bucket Traditional 47 Home on the Range Brewster Higley 49 Hound Dog Elvis Presley 50 How Much is that Doggie in the Window? Bob Merrill 51 I Met a Bear Tanah Keeta Scouts 52 I Walk the Line Johnny Cash 53 I Would Walk 500 Miles Proclaimers 54 I’m a Believer Neil Diamond /Monkees 56 I’m Leaving on a Jet Plane John Denver 57 If I Had a Hammer Pete Seeger 58 If I Had a Million Dollars Bare Naked Ladies 59 If You Miss the Train I’m On Peter Paul & Mary 61 If You’re Happy and You Know It 62 Imagine John Lennon 63 It’s a Small World Sherman & Sherman 64 2. -
Exposing Corruption in Progressive Rock: a Semiotic Analysis of Gentle Giant’S the Power and the Glory
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY Robert Jacob Sivy University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2019.459 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Sivy, Robert Jacob, "EXPOSING CORRUPTION IN PROGRESSIVE ROCK: A SEMIOTIC ANALYSIS OF GENTLE GIANT’S THE POWER AND THE GLORY" (2019). Theses and Dissertations--Music. 149. https://uknowledge.uky.edu/music_etds/149 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
MTO 11.4: Spicer, Review of the Beatles As Musicians
Volume 11, Number 4, October 2005 Copyright © 2005 Society for Music Theory Mark Spicer Received October 2005 [1] As I thought about how best to begin this review, an article by David Fricke in the latest issue of Rolling Stone caught my attention.(1) Entitled “Beatles Maniacs,” the article tells the tale of the Fab Faux, a New York-based Beatles tribute group— founded in 1998 by Will Lee (longtime bassist for Paul Schaffer’s CBS Orchestra on the Late Show With David Letterman)—that has quickly risen to become “the most-accomplished band in the Beatles-cover business.” By painstakingly learning their respective parts note-by-note from the original studio recordings, the Fab Faux to date have mastered and performed live “160 of the 211 songs in the official canon.”(2) Lee likens his group’s approach to performing the Beatles to “the way classical musicians start a chamber orchestra to play Mozart . as perfectly as we can.” As the Faux’s drummer Rich Pagano puts it, “[t]his is the greatest music ever written, and we’re such freaks for it.” [2] It’s been over thirty-five years since the real Fab Four called it quits, and the group is now down to two surviving members, yet somehow the Beatles remain as popular as ever. Hardly a month goes by, it seems, without something new and Beatle-related appearing in the mass media to remind us of just how important this group has been, and continues to be, in shaping our postmodern world. For example, as I write this, the current issue of TV Guide (August 14–20, 2005) is a “special tribute” issue commemorating the fortieth anniversary of the Beatles’ sold-out performance at New York’s Shea Stadium on August 15, 1965—a concert which, as the magazine notes, marked the “dawning of a new era for rock music” where “[v]ast outdoor shows would become the superstar standard.”(3) The cover of my copy—one of four covers for this week’s issue, each featuring a different Beatle—boasts a photograph of Paul McCartney onstage at the Shea concert, his famous Höfner “violin” bass gripped in one hand as he waves to the crowd with the other. -
Beatles Cover Albums During the Beatle Period
Beatles Cover Albums during the Beatle Period As a companion to the Hollyridge Strings page, this page proposes to be a listing of (and commentary on) certain albums that were released in the United States between 1964 and April 1970. Every album in this listing has a title that indicates Beatles-related content and/or a cover that is a parody of a Beatles cover. In addition, the content of every album listed here is at least 50% Beatles-related (or, in the case of albums from 1964, "British"). Albums that are not included here include, for example, records named after a single Beatles song but which contain only a few Beatles songs: for example, Hey Jude, Hey Bing!, by Bing Crosby. 1964: Nineteen-sixty-four saw the first wave of Beatles cover albums. The earliest of these were released before the release of "Can't Buy Me Love." They tended to be quickly-recorded records designed to capitalize rapidly on the group's expanding success. Therefore, most of these albums are on small record labels, and the records themselves tended to be loaded with "filler." Possibly, the companies were not aware of the majority of Beatle product. Beattle Mash The Liverpool Kids Palace M-777 Side One Side Two 1. She Loves You 1. Thrill Me Baby 2. Why Don't You Set Me Free 2. I'm Lost Without You 3. Let Me Tell You 3. You Are the One 4. Take a Chance 4. Pea Jacket Hop 5. Swinging Papa 5. Japanese Beatles 6. Lookout for Charlie The label not only spells "Beatle" correctly but also lists the artist as "The Schoolboys." The liner notes show that this album was released before the Beatles' trip to America in February, 1964. -
Statistician Examines Beatles Mystery 20 September 2018, by Peter Reuell
Statistician examines Beatles mystery 20 September 2018, by Peter Reuell But for McCartney fans saying "Wait," all hope is not lost. When the researchers separated the song's verses from the bridge—what Lennon used to call the "middle eight"—they found Something interesting. "There was some question about whether McCartney wrote the bridge," he said. "And it turns out that it's close to a 50 percent chance that the middle eight was written by him, and the rest is likely to have been written by John." To determine which Beatle wrote the song, the researchers spent "A Hard Day's Night" developing an algorithm to apply "stylometry"—the use of Credit: CC0 Public Domain statistical tools to determine authorship—to the band's catalog. "In the context of textual analysis, the way this Mark Glickman is Fixing a Hole in Beatles lore. works is we have a bunch of documents that were written by one author, and a bunch written by A senior lecturer in statistics, Glickman worked another author," Glickman explained. "The basic with Ryan Song, a former statistics student at strategy in the analysis is to examine the frequency Harvard, and Jason Brown, a professor at of certain kinds of words in those documents. In the Dalhousie University in Nova Scotia, to tackle an songwriting context … the way we're doing it is we're enduring Beatles mystery—who wrote "In My Life"? treating songs as two parallel streams of 'text' to analyze the melody line and the chords or harmonic As most Beatles fans know, John Lennon and Paul structure." McCartney disagreed over who authored the classic from the 1965 album "Rubber Soul," but Interestingly, Glickman said, when the team began mathematics seems to have finally settled the looking for the musical characteristics that could dispute. -
The Continuing Story of Bungallo Bill
The Continuing Story of Bungalow Bill Hey Jude, I Want To Tell You, In My Life, it seems like only Yesterday I had a Ticket To Ride, to go on a Magical Mystery Tour to find out what Your Mother Should Know about the restaurant business. I’m Down, I said, There’s A Place, Don’t Pass Me By, and thought Ob-La-Di, Ob-La-Da, Why Don’t We Do It In The Road? Abbey Road, on Blue Jay Way? I Will, I said, knowing I’d be Fixing A Hole (actually many holes) with Maxwell’s Silver Hammer. For No One gave me The Word or would Tell Me Why, or Ask Me Why, I got No Reply. I Should Have Known Better. In the beginning, it was Misery and A Hard Day’s Night, and I had Yer Blues. Bankers said Don’t Bother Me for Money (That’s What I Want) to pay the Taxman. Not A Second Time or Any Time At All! I wanted to Cry Baby Cry, Because, they said, Honey Don’t, Slow Down, You Can’t Do That, and don’t Get Back to us! But Tomorrow Never Knows. I said Think For Yourself, Act Naturally and We Can Work It Out if we just Come Together. I’ve Got a Feeling about the Revolution and I just can’t Let It Be. Because, Across the Universe, people would want to know Something about What You’re Doing at Abbey Road, where Rock And Roll Music plays Eight Days a Week, people Twist and Shout, do the Savoy Truffle, and are Here, There, And Everywhere. -
Millennials Are Creating Unsafe Conditions on US Roads
Economic Research: Millennials Are Creating Unsafe Conditions On U.S. Roads--But Not In The Way You Might Think Credit Market Services: Beth Ann Bovino, U.S. Chief Economist, New York (1) 212-438-1652; [email protected] Secondary Contact: Geoffrey E Buswick, Boston (1) 617-530-8311; [email protected] Table Of Contents Road To Nowhere (Baby, You Can) Drive My Car Little Deuce Coupe Freeway Of Love Go Your Own Way No Particular Place To Go I Can't Drive 55 WWW.STANDARDANDPOORS.COM/RATINGSDIRECT OCTOBER 19, 2015 1 1466580 | 302229998 Economic Research: Millennials Are Creating Unsafe Conditions On U.S. Roads--But Not In The Way You Might Think As banks, retailers, and consumer products companies continue their well-documented scramble to court so-called Millennials, the lifestyle choices of this newly adult generation are having a profound effect on a lesser-explored area of the U.S. economy: infrastructure. In the simplest terms, Millennials (which Pew Research defines as Americans born from 1982-2000, and called Generation Y by some) are driving less than older motorists did when they came of age--and when they do get behind the wheel, they are generally in smaller, more fuel-efficient cars. This, in turn, has curbed revenues from the federal gasoline tax, the primary source of funding for the Federal Highway Trust Fund, which is the backbone of the country's surface transportation infrastructure. This drop in funds available to construct and repair the country's infrastructure could, in Standard & Poor's Ratings Services' view, weigh on growth prospects for U.S.