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Nirvana in Utero Album Download
nirvana in utero album download Nirvana – In Utero (1993) This 20th Anniversary Super Deluxe Edition of the unwitting swansong of the single most influential band of the 1990s features more than 70 remastered, remixed, rare and unreleased recordings, including B-sides, compilation tracks, never-before-heard demos and live material featuring the final touring lineup of Cobain, Novoselic, Grohl, and Pat Smear. Additional Info: • Released Date: September 24, 2013 • More Info Hi-Res. Disc 1: Original Album Remastered 01. Serve The Servants (Album Version) – 03:37 02. Scentless Apprentice (Album Version) – 03:48 03. Heart-Shaped Box (Album Version) – 04:41 04. Rape Me (Album Version) – 02:50 05. Frances Farmer Will Have Her Revenge On Seattle (Album Version) – 04:10 06. Dumb (Album Version) – 02:32 07. Very Ape (Album Version) – 01:56 08. Milk It (Album Version) – 03:55 09. Pennyroyal Tea (Album Version) – 03:39 10. Radio Friendly Unit Shifter (Album Version) – 04:52 11. Tourette’s (Album Version) – 01:35 12. All Apologies (Album Version) – 03:56 B-Sides & Bonus Tracks 13. Gallons Of Rubbing Alcohol Flow Through The Strip (Album Version) – 07:34 14. Marigold (B-Side) – 02:34 15. Moist Vagina (2013 Mix) – 03:34 16. Sappy (2013 Mix) – 03:26 17. I Hate Myself And Want To Die (2013 Mix) – 03:00 18. Pennyroyal Tea (Scott Litt Mix) – 03:36 19. Heart Shaped Box (Original Steve Albini 1993 Mix) – 04:42 20. All Apologies (Original Steve Albini 1993 Mix) – 03:52. Disc 2: Original Album 2013 Mix 01. Serve The Servants (2013 Mix) – 03:38 02. -
Krist Novoselic, Dave Grohl, and Kurt Cobain
f Krist Novoselic, Dave Grohl, and Kurt Cobain (from top) N irvana By David Fricke The Seattle band led and defined the early-nineties alternative-rock uprising, unleashing a generation s pent-up energy and changing the sound and future of rock. THIS IS WHAT NIRVANA SINGER-GUITARIST KURT Cobain thought of institutional honors in rock & roll: When his band was photographed for the cover of Rolling Stone for the first time, in early 1992, he arrived wearing a white T-shirt on which he’d written, c o r p o r a t e m a g a z i n e s s t i l l s u c k in black marker. The slogan was his twist on one coined by the punk-rock label SST: “Corporate Rock Still Sucks.” The hastily arranged photo session, held by the side of a road during a manic tour of Australia, was later recalled by photogra pher Mark Seliger: “I said to Kurt, T think that’s a great shirt... but let’s shoot a couple with and without it.’ Kurt said, ‘No, I’m not going to take my shirt off.’” Rolling Stone ran his Fuck You un-retouched. ^ Cobain was also mocking his own success. At that moment, Nirvana - Cobain, bassist Krist Novoselic, and drummer Dave Grohl - was rock’s biggest new rock band, propelled out of a long-simmering postpunk scene in Seattle by its incendiary second album, N everm ind, and an improbable Top Ten single, “Smells Like Teen Spirit.” Right after New Year’s Day 1992, Nevermind - Nirvana’s first major-label release and a perfect monster of feral-punk challenge and classic-rock magne tism, issued to underground ecstacy just months before - had shoved Michael Jackson’s D angerous out of the Number One spot in B illboard. -
Pennyroyal Tea Chords by Nirvana Tabs @ Ultimate Guitar Archive
6/5/2015 Pennyroyal Tea Chords by Nirvana tabs @ Ultimate Guitar Archive Pennyroyal Tea Chords by Nirvana + --------------------------------------------------------------------- + | Ultimate Guitar Tabs Archive - your #1 source for tabs! | | http://www.ultimate-guitar.com/ | | | | Over 800,000 guitar, guitar pro and bass tabs! Also lessons, news, | | columns and guitar forums! | + --------------------------------------------------------------------- + Artist: Nirvana Song: Pennyroyal Tea Nirvana - Pennyroyal Tea (If you want to play the unplugged version just skip the solo) At the end of the Gmaj Kurt would play: E|-2-3-0-| Chords: Am: x0221x Gmaj: 320001 C: 3355xx (or played open) D: 5577xx (or played open) A#: 1133xx Solo: e|-------------------------------------3--3-2-0-----------| B|----------------------------------------------3-2-0-----| G|-2-2-2h3p2-2h3p2-2-2-2h3p2-2h3p2-2-2----------------2-0-| D|-2-2-------------2-2-------------2-2--------------------| A|-0-0-------------0-0-------------0-0--------------------| E|--------------------------------------------------------| Am Gmaj Im on, my time, with everyone. Am Gmaj I have, very, bad posture. C D A# Sit and drink Pennyroyal Tea C D A# Distill the life that's inside of me C D A# Sit and drink Pennyroyal Tea C D A# I'm anemic royalty Am Gmaj Give me a Leonard Cohen afterworld Am Gmaj So I can sigh eternally C D A# I'm so tired I can't sleep C D A# I'm a liar and a thief C D A# Sit and drink pennyroyal Tea C D A# I'm anemic royalty SOLO http://tabs.ultimate-guitar.com/print/46245 1/2 6/5/2015 Pennyroyal Tea Chords by Nirvana tabs @ Ultimate Guitar Archive Am Gmaj I'm on warm milk and laxatives Am Gmaj Cherry-flavored antacids C D A# Sit and drink Pennyroyal Tea C D A# Distill the life that's inside of me C D A# Sit and drink Pennyroyal Tea C D A# I'm anemic royalty The ending is the Am over and over.. -
Name Artist Composer Album Grouping Genre Size Time Disc
Name Artist Composer Album Grouping Genre Size Time Disc Number Disc Count Track Number Track Count Year Date Mod ified Date Added Bit Rate Sample Rate Volume Adjustment Kind Equalizer Comments Plays Last Played Skips Last Ski pped My Rating Because The Beatles Abbey Road Pop 4149082 165 1969 02.07.2011 13:37 02.07.2011 13:31 192 44100 MPEG audio file , AG# DF7AFDAC Carry That Weight The Beatles Abbey Road Pop 2501496 96 1969 02.07.2011 13:37 02.07.2011 13:31 192 44100 MPEG audio file , AG# 74 DF4189 Come Together The Beatles Abbey Road Pop 6431772 260 1969 02.07.2011 13:37 02.07.20 11 13:31 192 44100 MPEG audio file , AG# 5081C2D4 The End The Beatles Abbey Road Pop 3532174 139 1969 02.07.2011 13:37 02.07.2011 13:31 192 44100 MPEG audio file , AG# 909B4CD9 Golden Slumbers The Beatles Abbey Road Pop 2374226 91 1969 02.07.2011 13:37 02.07.20 11 13:31 192 44100 MPEG audio file , AG# D91DAA47 Her Majesty The Beatles Abbey Road Pop 731642 23 1969 02.07.2011 13:37 02.07.20 11 13:31 192 44100 MPEG audio file , AG# 8427BD1F 1 02.07.2011 13:33 Here Comes The Sun The Beatles Abbey Road Pop 4629955 185 1969 02.07.2011 13:37 02.07.2011 13:31 192 44100 MPEG audio file , AG# 23 6DC926 3 30.10.2011 18:20 4 02.07.2011 13:34 I Want You The Beatles Abbey Road Pop 11388347 467 1969 02.07.2011 13:38 02.07.20 11 13:31 192 44100 MPEG audio file , AG# 97501696 Maxwell's Silver Hammer The Beatles Abbey Road Pop 5150946 207 1969 02.07.2011 13:38 02.07.2011 13:31 192 44100 MPEG audio file , AG# 78 0B3499 Mean Mr Mustard The Beatles Abbey Road Pop 1767349 66 1969 -
Embodiment, Phenomenology and Listener Receptivity of Nirvana’S in Utero
‘WE FEED OFF EACH OTHER’: EMBODIMENT, PHENOMENOLOGY AND LISTENER RECEPTIVITY OF NIRVANA’S IN UTERO Christopher Martin A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2006 Committee: Jeremy Wallach Becca Cragin Angela Nelson ii ABSTRACT Jeremy Wallach, Advisor Despite the fact that listening to recorded music is a predominant form of human interaction with music in general, music scholarship often continues to classify listening as a passive form of reception in comparison to the “activity” of actual music performance. This thesis presents the idea that music listening is actually an embodied and agentive form of reception that varies according to different listeners, their listening strategies, and other surrounding contexts. In order to provide detailed analysis of this assertion, Nirvana’s 1993 album In Utero is the primary recording that this thesis examines, arguing that the album contains specific embodied properties that ultimately allow for embodied forms of listening and responses within the musical experience. Phenomenological reasoning and scholarship from popular music studies, history, cultural studies, and other humanities fields contribute to the central argument. iii ACKNOWLEDGEMENTS I owe an oversized thank you to the following friends and family for their support: Pat and Priscilla Martin, Veronica Martin, Linda Coleson, and my colleagues in the Popular Culture department. Aaron Weinacht and Patrick Blythe earn special thanks for their continuing willingness to participate in arguments and theories that, as always, range from prescient to ridiculous. Kandace Virgin also deserves my thanks and love for patiently tolerating my stubbornness and need to constantly work ahead, as well as my other idiosyncrasies. -
How Does Music Connect the Artist and Fans?
Bowling Green State University ScholarWorks@BGSU Ray Browne Conference on Cultural and Critical Studies 2018: Borders and Borderlands Apr 6th, 3:00 PM - 3:50 PM How Does Music Connect the Artist and Fans? Jacob Garringer [email protected] Follow this and additional works at: https://scholarworks.bgsu.edu/rbc Part of the Health Psychology Commons, and the Other Music Commons Garringer, Jacob, "How Does Music Connect the Artist and Fans?" (2018). Ray Browne Conference on Cultural and Critical Studies. 7. https://scholarworks.bgsu.edu/rbc/2018conference/005/7 This Event is brought to you for free and open access by the Conferences and Events at ScholarWorks@BGSU. It has been accepted for inclusion in Ray Browne Conference on Cultural and Critical Studies by an authorized administrator of ScholarWorks@BGSU. Garringer 1 Jacob Garringer Katelen Brown POPC 1600 24 November 2017 How does Music Connect the Artist and Fans? Music as an art has been around for thousands of years. With the evolution of music in popular culture comes a rise in countless genres and subgenres. Audiences have the orchestra which has been entertaining them since the 17th and 18th century; meanwhile there have also been different tastes and genres that have risen throughout the decades, such as the jazz era of the 1920s and 1930s, the big band sound of the 1950s, the hair-metal and techno-filled ‘80s, and the angsty grunge era of the early-to-mid 1990s. Even today shows a change in contemporary music tastes, and we see different groups of people enjoying many different styles of rock music, country, hip-hop and rap, pop, the list goes on. -
Authenticity and Its Role Within the Branding of an Artist
J ÖNKÖPING I NTERNATIONAL B USINESS S CHOOL JÖNKÖPING UNIVERSITY Authenticity And its role within the branding of an artist Bachelor Thesis in Business Administration Author: David Arkhult 870628-8530 Joakim Larsson 880604-5616 Tutor: Benjamin Hartmann Jönköping May 2011 Acknowledgements The authors of this study would like to sincerely thank all the people that contributed in order to make it possible. A special thanks goes out to all the prominent people within the music industry who took time from their busy schedules in order to answer our questions and thereby giving us a more in depth understanding of the industry and our particular subject. We also give our regards to Benjamin Hartmann and our classmates for their constructive feedback and remarks. Yours truly. David Arkhult & Joakim Larsson Jönköping International Business School 2011 _________________ ________________ David Arkhult Joakim Larsson i Bachelor Thesis in Business Administration Title: Authenticity and its role within the branding of an artist Authors: David Arkhult Joakim Larsson Tutor: Benjamin Hartmann Date: May 2011 Subject words: Authenticity, Branding, Music Industry, Artists Abstract Problem: One of the most important parts in making an artist succeed is to brand him/her in the most suitable way possible. There is often a general consensus among people in the music business that it is important for an artist to be authentic. Definitions on the word authenticity are often vague, subjective and differs depending on whom you ask. It is therefore hard for employees in the music business to use authenticity as a tool in their branding strategy, because they cannot measure authenticity in numbers. -
Nirvana – in Utero
In Utero achieved their goal, as In Utero is arguably one of the most abrasive, raw sounding works Nirvana has produced, and as is Nirvana’s custom, the lyrics almost never have one solid interpretation. There are twelve regular tracks and one bonus, in order they are: “Serve The Servants”, “Scentless Apprentice”, “Heart Shaped Box”, “Rape Me”, “Frances Farmer Will Have Her Revenge On Seattle”, “Dumb”, “Very Ape”, “Milk It”, “Pennyroyal Tea”, “Radio Friendly Unit Shifter”, “Tourette’s”, “All Apologies”, and lastly the bonus track “Gallons of Rubbing Alcohol Flow Through The Strip”. All Nirvana albums have their share of dark jokes and jadedness, but with Kurt Cobain’s suicide on April 5th, 1994, less than seven In Utero is Nirvana’s fourth and final studio months after the release of In Utero, many album, it was released in 1993. It went Platinum followers of Nirvana have interpreted the in the United States, Canada, and Britain. Kurt album as a kind of suicide note. It may have Cobain, Krist Novoselic, and Dave Grohl been easy to pass over initially after its release, recorded it at Pachyderm Studios in Minnesota. but after Cobain’s death it was impossible to The record was recorded over a two week ignore the amount of bitterness hidden in the period; Steve Albini was hired by the band to lyrics. Take the opening line of the opening song produce and record the record. It was the goal “Serve the Servants” for example: “Teenage of Albini and the three members of Nirvana to angst has paid off well, but now I’m bored and create a record that sounded nothing like their old”. -
NIRVANA: in UTERO 20TH ANNIVERSARY MULTI-FORMAT REISSUE out SEPTEMBER 23Rd FULL TRACKLISTING REVEALED INCLUDING REMASTERED ALBUM
NIRVANA: IN UTERO 20TH ANNIVERSARY MULTI-FORMAT REISSUE OUT SEPTEMBER 23rd FULL TRACKLISTING REVEALED INCLUDING REMASTERED ALBUM, NEW 2013 MIX, RECENTLY UNEARTHED "FORGOTTEN TUNE," ORIGINAL NEVER-BEFORE-HEARD "HEART-SHAPED BOX" AND "ALL APOLOGIES" MIXES, 1990 "MARIGOLD" DEMO, "LIVE AND LOUD" CONCERT FROM DECEMBER 13, 1993 (ALSO AVAILABLE AS A STANDALONE DVD) & MUCH MUCH MORE To say that Nirvana's third and ultimately final studio album In Utero was 1993's most polarizing record would be the understatement of a decade. The unadorned sonic rawness of Steve Albini's recording laid bare every primal nuance of the most confrontational yet vulnerable material Kurt Cobain, Krist Novoselic and Dave Grohl would ever record. And with its 1991 predecessor Nevermind having sold some 30 million copies, singlehandedly returning honest rock 'n' roll to the top of the pop charts, In Utero was essentially the first record Nirvana would make with any expectations from the public. So from the opening quasi-shamble melodics of "Serve The Servants" through the bittersweet closing strains of "All Apologies," In Utero was the sound of the most incredible yet conflicted rock 'n' roll band of the era at the peak of its powers coming to terms with a generational spokes-band mantle they'd never seen coming-and ultimately surmounting these struggles to make the record they needed to make. As Rolling Stone's David Fricke said in his review at the time, "In Utero is a lot of things-brilliant, corrosive, enraged and thoughtful, most of them all at once. But more than anything, it's a triumph of the will." Universal Music Group will commemorate the 20th anniversary of the unwitting swansong of the single most influential artist of the 1990s with a multi-format release that spreads more than 70 remastered, remixed, rare, unreleased and live recordings over configurations ranging from a 3-CD/1-DVD Super Deluxe Edition to a standard digital/CD remaster of the original album. -
Nirvana & the Sound of Seattle
"Я здесь, с вами, чтобы забрать вас с собой прямо в Нирвану" Биография Курта Кобейна. ~Nirvana & The Sound Of Seattle~ http://www.kurtcobain.ru [email protected] ПРЕДИСЛОВИЕ В 1990 году ни один из рок-альбомов в Соединенных Штатах не вышел на первое место, что дало повод специалистам заговорить о конце эры рока. Музыкальная аудитория была к этому времени тщательно классифицирована руководителями радиопрограмм в соответствии с демографическими данными, и казалось маловероятным, что рок-фэны смогут объединиться вокруг какого-нибудь одного диска в достаточно большом количестве, чтобы вывести его на первые места в чартах. Дегенерация рока в выхолощенный и рафинированный мнимый бунт привела к тому, что его место заняли такие жанры, как кантри и рэп, непосредственно обращавшиеся к настроениям и заботам масс. И хотя в 1991 году на первое место вышли несколько рок-альбомов, лишь Nevermind объединил аудиторию, которая до этого никогда не была единой - десяти-двадцатилетних. Устав от набивших оскомину ветеранов вроде GENESIS и Эрика Клэптона или искусственных созданий вроде Полы Абдул и MILLI VANILLI, тинэйджеры нуждались в собственной музыке. Такой, которая бы выражала то, что они чувствуют. Они уже догадывались, что стали первым поколением в истории Америки, лишенным надежды на лучшую жизнь в сравнении с жизнью своих родителей, поколением, первые сексуальные опыты которого были омрачены угрозой СПИДа, а детство прошло в страхе перед призраком ядерной войны. Они не чувствовали в себе сил, чтобы бороться с враждебным окружением и вынести атмосферу сексуального и культурного подавления, насаждаемого режимами Рейгана и Буша. Перед лицом всего этого они ощущали себя беспомощными и безгласными. В 80- е годы многие музыканты выражали недовольство политической и социальной несправедливостью, однако большинство из них, такие как Дон Хенли, Брюс Спрингстин и Стинг, являлись представителями старшего поколения. -
Johnny Cash: WON't BACK DOWN ONE WALK the LINE GIVE MY
Johnny Cash: THE MAN WHO SOLD THE WORLD Mother PENNYROYAL TEA Beautiful Boy WON’T BACK DOWN DUMB Jealous Guy ONE POLLY Real Love WALK THE LINE ON A PLAIN Medley: power to the people/give peace a GIVE MY LOVE TO ROSE SOMETHING IN THE WAY chance/all you need is love GHOST RIDERS IN THE SKY PLATEAU Norwegian wood GOD’S GONNA CUT YOU DOWN OH, ME Strawberry fields REDEMPTION SONG LAKE OF FIRE Tom orrow never knows RING OF FIRE ALL APOLOGIES Whatever gets you through the night UNCHAINED WHERE DID YOU SLEEP LAST NIGHT I am the walrus HURT LITHIUM Why don't we do it in the road DON’T TAKE YOUR GUNS TO TOWN IN BLOOM Come together HUNG MY HEAD SERVE THE SERVANTS Don't let me down SOLITARY MAN HEART-SHAPED BOX Yer Blues PERSONAL JESUS RAPE ME Twist and shout/La Bamba REDEMPTION DAY LOVE BUZZ Bebopalula JACKSON Peggy sue CRY CRY CRY Stand by me FOLSOM PRISON BLUES GET RHYTHM RUSTY CAGE A BOY NAMED SUE The Blues Brothers: WHEN THE MAN COMES AROUND AIN’T NO GRAVE Sweet home Chicago WE’LL MEET AGAIN She caught the katy Messin' with the kid John Lennon/ The Beatles: Shotgun Blues Minnie The Moocher Just like starting over Soulman I'm losing you I Can’t Turn You Loose Kurt Cobain/Nirvana: Cold Turkey Everybody Needs Somebody To Love Revolution Gimme Some Lovin SMELLS LIKE TEEN SPIRIT (Leah) Working Class Hero Peter Gunn Theme ABOUT A GIRL Instant Karma New Orleans COME AS YOU ARE Nobody told me Be-Bop-A-Lula in E JESUS DON’T WANT ME FOR A SUNBEAM Imagine Jailhouse Rock Diverse Interpreten: Eigene Wünsche: Haus am See – Seeed 1. -