Pete Townshend Empty Glass Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Pete Townshend Empty Glass mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Pop Album: Empty Glass Country: US Released: 1980 Style: Rock & Roll, Pop Rock MP3 version RAR size: 1314 mb FLAC version RAR size: 1746 mb WMA version RAR size: 1308 mb Rating: 4.7 Votes: 157 Other Formats: MP1 MOD ASF APE DTS ADX AC3 Tracklist Hide Credits Rough Boys A1 3:59 Arranged By [Horns] – Raphael RuddWritten-By – Pete Townshend I Am An Animal A2 3:46 Written-By – Pete Townshend And I Moved A3 3:22 Written-By – Pete Townshend Let My Love Open The Door A4 2:42 Written-By – Pete Townshend Jools And Jim A5 2:35 Written-By – Pete Townshend Keep On Working B1 3:22 Written-By – Pete Townshend Cat's In The Cupboard B2 3:32 Written-By – Pete Townshend A Little Is Enough B3 4:39 Written-By – Pete Townshend Empty Glass B4 5:20 Written-By – Pete Townshend Gonna Get Ya B5 6:22 Written-By – Pete Townshend Companies, etc. Manufactured By – Atlantic Recording Corporation Phonographic Copyright (p) – Eel Pie Recording Productions Ltd. Copyright (c) – Eel Pie Recording Productions Ltd. Copyright (c) – Eel Pie Publishing Ltd. Pressed By – Allied Record Company – B-17235 Pressed By – Allied Record Company – B-17236 Published By – Eel Pie Publishing Ltd. Published By – Towser Tunes, Inc. Recorded At – Eel Pie Studios Recorded At – Air Studios Mixed At – Wessex Sound Studios Mastered At – CBS Studios, London Mastered At – Sterling Sound Credits Artwork [Graphics] – Richard Evans Bass – Tony Butler (tracks: A1, A2, A4, A5, B2 to B5) Design [Sleeve] – Bob Carlos Clarke Drums – James Asher (tracks: A5, B1), Kenny Jones (tracks: A1), Mark Brzezicki (tracks: B3), Simon Phillips (tracks: A2 to A4, B2, B4, B5) Engineer – Bill Price Engineer [Additional Recording] – Steve Nye Graphics – Richard Evans Guitar, Synthesizer, Vocals – Pete Townshend Harmonica – Pete Hope-Evans* Keyboards – 'Rabbit' Bundrick* Management – Bill Curbishley Management [Assistant] – Chris Chappel Mastered By [Vinyl Cut] – TimTom* Other [Models] – Lindsey And Julie Producer – Chris Thomas Notes Allied Record Company pressing denoted by "AR" label matrix suffix. Additional recording at Eel Pie Studios and Air Studios with Steve Nye engineering. Mixed at Wessex No.2 & Mastered At Sterling Sound N.Y.C. Printed inner sleeve with lyrics and credits. Barcode and Other Identifiers Matrix / Runout (Label Side A): ST-C-804437-AR Matrix / Runout (Label Side B): ST-C-804438-AR Matrix / Runout (Etched Side A): ST-C-804437-J B-17235-J 2663 + SLM Matrix / Runout (Etched Side B): ST-C-804438-J B-17236-J 2663-X + SLM Pressing Plant ID (On labels): AR Rights Society: BMI Other versions Category Artist Title (Format) Label Category Country Year Pete Empty Glass (LP, ATCO SD 32-100 SD 32-100 US 1980 Townshend Album, SP ) Records Pete Empty Glass (LP, ATCO SD 32-100 SD 32-100 US 1980 Townshend Album, Club, San) Records ATCO Records, ATL 50699, ATL 50699, Pete Empty Glass (LP, ATCO ATC 50699, ATC 50699, Netherlands 1980 Townshend Album) Records, 50699 50699 ATCO Records Empty Glass (LP, Pete 4780143 Album, Ltd, RE, UMC 4780143 Europe 2017 Townshend RM, Cle) Pete Empty Glass (Cass, ATCO CS 32100 CS 32100 US 1980 Townshend Album, Club) Records Related Music albums to Empty Glass by Pete Townshend Pete Townshend - A Friend Is A Friend Pete Townshend - Pete Townshend's Deep End Live! Pete Townshend - Life House>Elements Pete Townshend - With Love The Who - Sell Out Pete Townshend - The Iron Man (The Musical By Pete Townshend) Pete Townshend - Truancy: The Very Best Of Pete Townshend Pete Townshend - Rough Boys Pete Townshend - Face The Face (Long Version) Pete Townshend - Face The Face Pete Townshend - Secondhand Love The Who - You Are Who? (Demos & Outtakes For The "Who Are You?-Album, 1976-78).

Copy Link

Recommended publications

The Chronicle 76Th Year, No
The Chronicle 76th Year, No. 124 Duke University, Durham, North Carolina Tuesday, March 31, 1981 Reagan stable after shooting By Howell Raines Hinckley, who eyewitnesses sidewalk, critically wounded. Service agent writhed in pain raincoat, pinning him against a « 1961 NYT News Service said fired six shots at the Reagan, apparently at first on the rain-slick sidewalk. stone wall. "Get him out," a WASHINGTON - President presidential entourage from a unaware that he had been Nearby, a District of Columbia gun-waving officer yelled as the Reagsan was seriously wounded position among the television wounded, was shoved forcefully plainclothesman fell alongside president's limousine sped yesterday in an assassination camera crews and reporters by a Secret Service agent into Brady. The press secretary lay away. At first, it raced down attempt by a lone gunman who assembled outside a hotel exit. the presidential limousine that face down, blood from a Connecticut Avenue toward the also seriously wounded the sped, with the president in a gushing head wound dripping White House. White House press secretary A look of stunned disbelief sitting position in the backseat, into a steel grate. A pistol, and shot two law officers. swept across Reagan's face as a to the George Washington apparently dropped by the Only then, according to some Reagan was hit in the left side bullet struck him just as he University Hospital. officer, lay near his head. reports, was it discovered that ofthe chest during a rapid series raised his left arm to wave to the At the sixth shot, uniformed Reagan was bleeding and the of gun shots that rang out at crowd and as his press secretary, Behind him lay a scene of and plainclothes agents piled vehicle turned west toward the approximately 2:30 p.m., as James S.
[Show full text]
“Quiet Please, It's a Bloody Opera”!
UNIVERSITETET I OSLO “Quiet Please, it’s a bloody opera”! How is Tommy a part of the Opera History? Martin Nordahl Andersen [27.10.11] A theatre/performance/popular musicology master thesis on the rock opera Tommy by The Who ”Quiet please, it’s a bloody opera!” Martin Nordahl Andersen 2011 “Quiet please, it’s a bloody opera!” How is Tommy part of the Opera History? Print: Reprosentralen, University of Oslo All photos by Ross Halfin © All photos used with written permission. 1 ”Quiet please, it’s a bloody opera!” Aknowledgements I would like to thank my supervisors Ståle Wikshåland and Stan Hawkins for superb support and patience during the three years it took me to get my head around to finally finish this thesis. Thank you both for not giving up on me even when things were moving very slow. I am especially thankful for your support in my work in the combination of popular music/performance studies. A big thank you goes to Siren Leirvåg for guidance in the literature of theatre studies. Everybody at the Institute of Music at UiO for helping me when I came back after my student hiatus in 2007. I cannot over-exaggerate my gratitude towards Rob Lee, webmaster at www.thewho.com for helping me with finding important information on that site and his attempts at getting me an interview with one of the boys. The work being done on that site is fantastic. Also, a big thank you to my fellow Who fans. Discussing Who with you makes liking the band more fun.
[Show full text]
Smash Hits Volume 36
4pril 17-30 ^ 1980 m 30p 1 4. \ t, i% \ '."^.iiam 1 \ # »^» r ,:?^ ) ^ MARNF B. A. ROBERTSON NONKEES THE originals/ The Atlantic Masters — original soul music from the Atlantic label. Ten seven inch E.P.s, each with four tracks and at least two different artists. Taken direct from the original master tapes. Re-cut, Re-issued, Re-packaged. £1.60^ 11168 2 SMASH HITS April 17-30 1980 Vol 2 No. 8 WILL I HOLD IT right there! Now before WHAT DO WITHOUT YOU? you all write in saying how come Lene Lovich 4 there's only four of Madness on CLEAN CLEAN the cover, we'll tell ya. That heap of metalwork in the background The Buggies 5 IS none other than the Eiffel DAYDREAM BELIEVER Tower and the other trois {that's i'our actual French) scarpered off The Monkees 7 up it instead of having their photo MODERN GIRL taken. Now you know why Sheena Easton 8 they're called Madness! More nuttiness can be found on pages SILVER DREAM RACER 12 and 13, and other goodies in David Essex 14 this issue include another chance to win a mini-TV on the I'VE NEVER BEEN IN LOVE crossword, a binder offer for all Suzi Quatro 15 your back issues of Smash Hits CHECK OUT THE GROOVE (page 36), another token towards Mandging Editor your free set of badges (page 35) Nick Logan Bobby Thurston 19 and our great Joe Jackson SEXY EYES competition featuring a chance to Editor himself! (That's Dr. Hook 22 meet the man on Ian Cranna page 28).
[Show full text]
Petra Haden in the Age of Mechanical Reproduction
Journal of the International Association for the Study of Popular Music doi:10.5429/2079-3871(2010)v1i2.7en Who Sells Out?: Petra Haden in the Age of Mechanical Reproduction Marianne Tatom Letts Independent scholar [email protected] Abstract In 2005, Petra Haden released her version of The Who Sell Out, notable for the meticulousness and creativity with which she mimicked the various instruments on the album, and for the fact that she produced the project with an eight-track recorder and only her own voice. This article examines the ways in which Haden’s interpretation of the classic album elevates it into the realm of “high art” while retaining its status as a commodity within the realm of popular music. Although the Who’s original recording (1967) was one of the first concept albums, its unification comes not through a storyline or characters, as with other albums of that era, but through the foregrounding of its existence as a commodity. Radio jingles for both real and fake products are interspersed among the genuine commodities of pop songs, and the cover art features the Who in fake advertisements. Haden includes the jingles and even the cover artwork in her interpretation, but the changes she makes through generating every sound with her voice provide a level of unification that the original album does not possess. Haden’s live reinterpretation (with her band the Sellouts) casts doubt on what constitutes the “authentic” version of the album, since the current lineup of the Who (two surviving members and various supporting musicians) no longer performs the material.
[Show full text]
Avatar Meher Baba Bibliography with Revisions
AVATAR MEHER BABA BIBLIOGRAPHY 1928 to February 25, 1978 Exte!"e" to 2#15, $%th re'%(%o!( )or*( by a!" about Meher Baba %! E!+,%(h a!" other Euro-ea! ,a!+ua+e( .o/-%,e" by Ba, 0AT1 E"%te" 2 Pre-are" 3or Pub,%4at%o! by 56 F,a++ 7RI8 0E) 9ELHI 1978 1-"ate" by )/6 GRAHAM B,oo/%!+to!, I!"%a!a 2#1: "The boo* that I (ha,, ma*e -eo-,e rea" %( the boo* o3 the heart that ho,"( the *ey to the my(tery o3 ,%3e666; MEHER BABA .o-yr%+ht < = 1978, Ba, 0atu, Meher 0a>ar, 7%!+?( Roa", Ahme"!a+ar @MSA, I!"%a F%r(t E"%t%o! 1978 B## 4o-%e( Pub,%(he" by 56 F,a++ 7r%(, $%th the *%!" -er/%((%o! o3 A"% 76 Ira!%, Ahme"!a+ar @MSA, I!"%a C 2 Pr%!te" by < O 3or" Pr%!t4ra3t I!"%a Pvt6 Lt"6 :8, 84%!"%a Hou(e, 0e$ 9e,&% 11###1, I!"%a Re'%(e" a!" E te!"e" E"%t%o! 2##9 2!" Re'%(e" 2 E te!"e" E"%t%o! 2#1: Pub,%(he" by the Avatar Meher Baba Per-etua, Pub,%4 .har%tab,e Tru(t C 2 Po(te" $%t&%! the O!D,%!e Library TABLE OF .O0TE0T8 Avatar Meher Baba < a (hort b%o+ra-&%4a, (*et4h by A"% 76 Ira!% 66666666666666 Pre3a4e to the Or%+%!a, E"%t%o! 6666666666666666666666666666666666666666666666666666666666666666 Pre3a4e to F%r(t Re'%(e" a!" Exte!"e" E"%t%o! 666666666666666666666666666666666666666666 Pre3a4e to 8e4o!" Re'%(e" 2 Exte!"e" E"%t%o! 66666666666666666666666666666666666666666 Abbre'%at%o!( a!" 8ymbo,(66666666666666666666666666666666666666666666666666666666666666666666666 Mo!o+ra-h 8e4t%o!66666666666666666666666666666666666666666666666666666666666666666666666666666666666 8er%a, 8e4t%o!66666666666666666666666666666666666666666666666666666666666666666666666666666666666666666666
[Show full text]
AVATAR MEHER BABA BIBLIOGRAPHY 1928 to February 25, 1978 Extended to 2009, with Revisions Works by and About Meher Baba in English and Other European Languages
AVATAR MEHER BABA BIBLIOGRAPHY 1928 to February 25, 1978 Extended to 2009, with revisions Works by and About Meher Baba in English and other European Languages Revised and Extended Edition (2009) Compiled by Bal Natu An Avatar Meher Baba Trust eBook June 2011 Copyright © 1978 by Bal Natu, Meher Nazar, King’s Road, Ahmednagar (MS), India Source and short publication history: This eBook reproduces the revised and extended edition of Avatar Meher Baba Bibliography, published in 2009 on the Avatar Meher Baba Trust web site. The original (print) edition was published by J. Flagg Kris (New Delhi) in 1978. eBooks at the Avatar Meher Baba Trust Web Site The Avatar Meher Baba Trust’s eBooks aspire to be textually exact though non-facsimile reproductions of published books, journals and articles. With the consent of the copyright holders, these online editions are being made available through the Avatar Meher Baba Trust’s web site, for the research needs of Meher Baba’s lovers and the general public around the world. Again, the eBooks reproduce the text, though not the exact visual likeness, of the original publications. They have been created through a process of scanning the original pages, running these scans through optical character recognition (OCR) software, reflowing the new text, and proofreading it. Except in rare cases where we specify otherwise, the texts that you will find here correspond, page for page, with those of the original publications: in other words, page citations reliably correspond to those of the source books. But in other respects—such as lineation and font—the page designs differ.
[Show full text]
Understanding Popular Music, Second Edition
Understanding Popular Music Understanding Popular Music is an accessible and comprehensive introduction to the history and meaning of popular music. It begins with a critical assessment of the different ways in which popular music has been studied and examines the difficulties and debates which surround the analysis of popular culture and popular music. Drawing on the recent work of music scholars and the popular music press, Roy Shuker explores key subjects which shape our experience of music, including music production, the music industry, music policy, fans, audiences and subcultures, the musician as ‘star’, music journalism, and the reception and consumption of popular music. This fully revised and updated second edition includes: • case studies and lyrics of artists such as Shania Twain, S Club 7, The Spice Girls and Fat Boy Slim • the impact of technologies including on-line delivery and the debates over MP3 and Napster • the rise of DJ culture and the changing idea of the ‘musician’ • a critique of gender and sexual politics and the discrimination which exists in the music industry • moral panics over popular music, including the controversies surrounding artists such as Marilyn Manson and Eminem • a comprehensive discography, guide to further reading and directory of websites. Roy Shuker is Associate Professor in Media Studies at Massey University, New Zealand. He is the author of Key Concepts in Popular Music (Routledge 1998). LONDON AND NEW YORK Understanding Popular Music Second edition I Roy Shuker First published 1994 now known or hereafter invented, including by Routledge photocopying and recording, or in any 11 New Fetter Lane, London EC4P 4EE information storage or retrieval system, without permission in writing from the publishers.
[Show full text]
Tracking Spirituality Through the Three Iterations of the Who’S Tommy
ABSTRACT Title of Thesis: FROM YOU I GET THE STORY: Tracking spirituality through the three iterations of The Who’s Tommy. Medha Marsten, Master of Arts in Theatre & Performance Studied, 2020 Thesis Directed by: Dr. James Harding, Department of Theatre & Performance Studies ABSTRACT: In the late 1960s, Pete Townshend, lead guitarist and composer for British rock band The Who, discovered the teachings of Indian spiritual leader Meher Baba. Inspired by these teachings he wrote the concept album for the first successful rock opera: Tommy. The smashing success of this album led to its adaptation into a major Hollywood film directed by Ken Russell in 1975 and its adaptation into a Broadway musical directed by Des McAnuff in 1992. This thesis examines how each adaptation contributes to the Westernization, generalization, and sanitization of the spirituality inherent to the original concept album as well as how these adaptations reflect the conflicting objectives of their lead artists. FROM YOU I GET THE STORY: TRACKING SPIRITUALITY THROUGH THE THREE ITERATIONS OF THE WHO’S TOMMY. by Medha Marsten Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2020 Advisory Committee : Dr. James Harding, Chair Dr. Franklin Hildy Dr. Caitlin Marshall ©Copyright by Medha Marsten 2020 ACKNOWLEDGEMENTS To Dr. James Harding for reading so many drafts of this thesis and being forced to learn more than he ever wanted to know about Pete Townshend. To Dr. Caitlin Marshal and Dr. Franklin Hildy for their patience and understanding during a global pandemic.
[Show full text]
Bibliography
AVATAR MEHER BABA BIBLIOGRAPHY 1928 to February 25, 1978 Exte!"e" to 2#15, $%th re'%(%o!( )or*( by a!" about Meher Baba %! E!+,%(h a!" other Euro-ea! ,a!+ua+e( .o/-%,e" by Ba, 0AT1 E"%te" 2 Pre-are" 3or Pub,%4at%o! by 56 F,a++ 7RI8 0E) 9ELHI 1978 1-"ate" by )/6 GRAHAM B,oo/%!+to!, I!"%a!a I! 4o,,aborat%o! $%t& 5%m MIGDOLL a!" 9a'%" HOB8O0 Avatar:( Abo"e Ar4&%ve(, ;uee!(,a!", Au(tra%,a 2#19 "I! Ho!or o3 5%/ MIG9OLL <19=9>2#18?" "The boo* that I (ha,, ma*e -eo-,e rea" %( the boo* o3 the heart that ho,"( the *ey to the my(tery o3 ,%3e666@ MEHER BABA .o-yr%+ht A B 1978, Ba, 0atu, Meher 0aCar, 7%!+:( Roa", Ahme"!a+ar <MS?, I!"%a F%r(t E"%t%o! 1978 D## 4o-%e( Pub,%(he" by 56 F,a++ 7r%(, $%th the *%!" -er/%((%o! o3 A"% 76 Ira!%, Ahme"!a+ar <MS?, I!"%a E 2 Pr%!te" by A O 3or" Pr%!t4ra3t I!"%a Pvt6 Lt"6 F8, 84%!"%a Hou(e, 0e$ 9e,&% 11###1, I!"%a Re'%(e" a!" E te!"e" E"%t%o! 2##9 2!" Re'%(e" 2 E te!"e" E"%t%o! 2#1F Dr" Re'%(e" 2 E te!"e" E"%t%o! 2#19 Pub,%(he" by the Avatar Meher Baba Per-etua, Pub,%4 .har%tab,e Tru(t E 2 Po(te" $%t&%! the O!>,%!e Library TABLE OF CONTENTS Avatar Meher Baba : a short biographical sketch by Adi K !ra"i ii #re$ace to the Origi"al Editio" iv #re$ace to the %evised a"d Exte"ded Editio" vi Abbreviatio"s a"d Symbols xii Mo"ograph Sectio" ()*+, Serial Sectio" *+-)*,* So."d %ecordi"g Sectio" *,/)/*( Motio" #ict.re Sectio" /**)//+ 0ideorecordi"g Sectio" //()/1( A"alytical Sectio" /1*)/2- Appe"dix /21)/3( !"de& ()11 i A0ATA% ME4E% BABA A Short Biographical Sketch By A5! K !%AN! Bor" i" #oo"a6 !"dia6 o" Febr.ary *-6 (37,6 Mer8a" S !ra"i6 k"o8" as Meher Baba6 received 4is ed.catio" i" the to8" o$ 4is birth.
[Show full text]
Grand Cru, London
GRAND CRU, LONDON HANNES BIEGER a cargo vessel until it was relocated to France in the early ’70s. Renamed Grand eafaring has always been Cru, it became a champagne barge for a tough business, and one that the Canadian embassy in Paris, and it S requires substantial resources. was in service for this purpose until Pete Perhaps this is why only a few attempts Townshend acquired the boat a few have been made to establish waterborne years later, together with another ship of recording studios — mostly on the similar proportions. behalf of successful, creative individuals. According to producer/engineer Between those, Dave Gilmour’s studio Myles Clarke, who has been working on the houseboat Astoria in Hampton, with Townshend for many years, the London may be most prominent Who guitarist has always been “big example. However, another legendary into boats“, and planned to install boat studio with a long history exists in a studio on one ship and some space England’s capital, and it has just been for accommodation on the other one. made available to the public. Finally the studio construction was executed by famed engineer Eddie Ebenhaezer Good Veale, who also designed recording Grand Cru, named after the ship of the venues like SARM West and Britannia same name, was founded as a private Row, as well as home studios for other studio by Who guitarist Pete Townshend rock stars, including George Harrison. in the late ’70s, and has been in constant In the late ’70s, Pete Townshend’s operation since then. The ship itself plans changed when he founded Eel dates back to 1904, when the Dutch Pie Studios in a former boathouse in barge was built as a cargo vessel, named Twickenham.
[Show full text]
Henry Viparts 2 & 3 Richard
TUGOF WAR HENRY VI 2 & 3 PARTS RICHARD III This exhibition has been organized by the Flagler Museum, Palm Beach, Florida, with special thanks to Jean S. and Frederic A. Sharf. 40 East Erie, Chicago IL 312-482-8933 DriehausMuseum.org —The Merry Wives of Windsor TABLE OF CONTENTS Contents Chicago Shakespeare Theater 12 Now and Then 800 E. Grand on Navy Pier Scholar Stuart Sherman discusses Chicago, Illinois 60611 Shakespeare as the timeless chronicler 312.595.5600 of his country's chaotic past. Part of the www.chicagoshakes.com John W. and Jeanne M. Rowe Inquiry and Exploration Series ©2016 Chicago Shakespeare Theater 18 Point of View All rights reserved. artistic director, Director Barbara Gaines discusses her carl and marilynn thoma vision for the six-play epic of Tug of War. endowed chair: Barbara Gaines executive director: 22 Cast Criss Henderson above: Jed Feder, cover: Timothy Edward Kane, photos by Liz Lauren 26 Playgoer's Guide and Jeff Sciortino 31 Profiles 44 Leapfrog Scholar Stuart Sherman explores the three plays of Civil Strife. Part of the John W. and Jeanne M. Rowe Inquiry and Exploration Series 4 Fall 2016 | Tug of War: Civil Strife OYSTER PERPETUAL DAY-DATE 40 rolex oyster perpetual and day-date are ® trademarks. Welcome DEAR FRIENDS, Welcome to Chicago Shakespeare’s 30th Anniversary Season! It is hard to believe that three decades have passed since our first performance ofHenry V was staged on the roof of the Red Lion Pub. What a journey it has been. We launch this next chapter of our company against the backdrop of an artistically thrilling season.
[Show full text]
Vinyl Theory
Vinyl Theory Jeffrey R. Di Leo Copyright © 2020 by Jeffrey R. Di Leo Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to publish rich media digital books simultaneously available in print, to be a peer-reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. The complete manuscript of this work was subjected to a partly closed (“single blind”) review process. For more information, please see our Peer Review Commitments and Guidelines at https://www.leverpress.org/peerreview DOI: https://doi.org/10.3998/mpub.11676127 Print ISBN: 978- 1- 64315- 015- 4 Open access ISBN: 978- 1- 64315- 016- 1 Library of Congress Control Number: 2019954611 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Without music, life would be an error. — Friedrich Nietzsche The preservation of music in records reminds one of canned food. — Theodor W. Adorno Contents Member Institution Acknowledgments vii Preface 1 1. Late Capitalism on Vinyl 11 2. The Curve of the Needle 37 3.
[Show full text]