DOCSLIB.ORG

Texas Tornados Texas Tornados Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Texas Tornados Texas Tornados Mp3, Flac, Wma Texas Tornados Texas Tornados mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Latin Album: Texas Tornados Country: Europe Released: 1998 Style: Rock & Roll, Norteño, Country Rock MP3 version RAR size: 1998 mb FLAC version RAR size: 1674 mb WMA version RAR size: 1842 mb Rating: 4.2 Votes: 971 Other Formats: ADX VOC TTA MMF AU APE DTS Tracklist Hide Credits Who Were You Thinkin' Of 1 2:27 Written-By – Cathie Pelletier, Jim Glaser, Paul Gauvin (Hey Baby) Que Paso 2 2:58 Written-By – Augie Meyers, Bill Sheffield Laredo Rose 3 3:12 Written-By – Rich Minus A Man Can Cry 4 3:38 Written-By – Freddy Fender , Wayne Duncan Soy De San Luis 5 3:43 Written-By – Santiago Jimenez, Sr.*Written-By [Translator] – Louis Ortega* Adios Mexico 6 2:42 Written-By – Doug Sahm Is Than's What You're Thinking 7 3:51 Written-By – Randy Sharp She Never Spoke Spanish To Me 8 3:19 Written-By – Butch Hancock Dinero 9 2:47 Written-By – Augie Meyers Baby! Haven Sent Me You 10 2:29 Written-By – Huey P. Meaux Companies, etc. Record Company – Warner Communications Inc. Phonographic Copyright (p) – Reprise Records Phonographic Copyright (p) – WEA International Inc. Copyright (c) – Reprise Records Copyright (c) – WEA International Inc. Recorded At – The Fire Station Recorded At – Sound Emporium Mixed At – Sound Emporium Mastered At – Georgetown Masters Credits A&R [Direction] – Paige Levy Accordion – Augie Meyers (tracks: 1, 2, 6), Flaco Jimenez (tracks: 3, 5, 7, 8, 9) Acoustic Guitar – David Grissom (tracks: 1, 7), Doug Sahm (tracks: 8), Richard Bennett (tracks: 3) Arranged By [Arrangements] – Doug Sahm Art Direction, Design – Laura LiPuma Backing Vocals [Background Vocals] – Doug Sahm (tracks: 2, 3, 9), Freddy Fender (tracks: 2), Louis Ortega* (tracks: 3, 6, 8, 9) Baritone Saxophone – Luis Bustos (tracks: 10) Bass – Jack Barber (tracks: 10), Louis Terrazas (tracks: 3 to 5, 7, 8), Speedy Sparks (tracks: 1, 2, 6, 9) Bass Guitar [Bajo Sexto] – Doug Sahm (tracks: 2), Oscar Tellez (tracks: 5, 8) Concept By, Directed By – Cameron Randle, Stuart H. Dill Drums – Ernie Durawa (tracks: 3 to 5, 7, 8), George Rains (tracks: 10), Mike Buck (tracks: 1, 2, 6, 9) Electric Guitar – Derek O'Brien (tracks: 4, 10), Doug Sahm (tracks: 9), Louis Ortega* (tracks: 1, 2, 9), Richard Bennett (tracks: 1, 6) Electric Guitar [Solo] – Doug Sahm (tracks: 9) Guitar [Requinto] – Richard Bennett (tracks: 3, 7) Harmony Vocals – Freddy Fender (tracks: 1, 7, 10), Louis Ortega* (tracks: 5) Lead Vocals – Augie Meyers (tracks: 2, 9), Doug Sahm (tracks: 1, 6, 8), Freddy Fender (tracks: 4, 7) Lead Vocals [English] – Doug Sahm (tracks: 5, 10) Lead Vocals [Spanish] – Flaco Jimenez (tracks: 5), Freddy Fender (tracks: 5, 10) Management – Cameron Randle, Stuart H. Dill Mastered By – Denny Purcell Mastered By [With] – Bill Halverson Mixed By – Bill Halverson, Gary Laney Organ [Hammond B-3] – Augie Meyers (tracks: 4, 10) Organ [Vox] – Augie Meyers (tracks: 1, 2, 4, 6, 8) Photography By – D. Gorton Piano – Doug Sahm (tracks: 1, 4, 10) Producer – Bill Halverson, Texas Tornados Recorded By [With] – Gary S. Hickinbotham* Recorded By, Recorded By [Addtional Recording] – Bill Halverson Steel Guitar – Jimmy Day (tracks: 8, 9) Tambourine – Ernie Durawa (tracks: 4) Tenor Saxophone – Luis Bustos (tracks: 10), Rocky Morales (tracks: 10) Timbales – Ernie Durawa (tracks: 3) Trumpet – Charles McBurney* (tracks: 10) Notes Recorded at the Fire Station in San Marcos, Texas Additional recording assisted by Linell at the Sound Emporium in Nashville, Tennessee Mixed at the Sound Emporium Management Refugee Management, Inc. Nashville, Tennessee All songs BMI except track 8 ASCAP Track 5: This song is dedicated to the memory of Santiago Jimenez, Sr. This album is in special memory of Billy Nance and Margarita Huerta © ℗ 1990Reprise Records for the US ans WEA International Inc for the world outside of the US Made in Germany Barcode and Other Identifiers Barcode: 0 7599-26251-2 8 Rights Society: GEMA/BIEM Label Code: LC 0322 Matrix / Runout: 759926251-2.2 12/98 Mastering SID Code: IFPI L011 Mould SID Code: IFPI 0544 Other: WE 835 Other: ADD Other versions Category Artist Title (Format) Label Category Country Year Texas Texas Tornados (CD, Reprise 9 26251-2 9 26251-2 US 1990 Tornados Album) Records Texas Texas Tornados (CD, Reprise W2 26251 W2 26251 Canada Unknown Tornados Album, Club, RP) Records Texas Texas Tornados (CD, Reprise 9 26251-2 9 26251-2 US Unknown Tornados Album, RP) Records Texas Texas Tornados (LP, Reprise PRO-A-4405 PRO-A-4405 US 1990 Tornados Album, Promo) Records Texas Texas Tornados (LP, Reprise 7599-26251-1 7599-26251-1 Germany 1990 Tornados Album) Records Related Music albums to Texas Tornados by Texas Tornados Doug Sahm And His Band - Inlaws And Outlaws - 1973 Radio Broadcast Los Texas Tornados - Los Texas Tornados Little Texas - Greatest Hits Augie Meyers - Finally In Lights Tornados, The - 23 Tornados Tracks on Decca & Columbia Augie Meyers - August In New York Augie Meyers - Kep Pa So Doug Sahm & Augie Myers And Assorted Musical Guests - Back To The 'Dillo Sir Doug & The Texas Tornados - Texas Rock For Country Rollers Heinz / The Tornados - Heinz/The Tornados.
Load more

Recommended publications
  • Austinmusicawards2017.Pdf
    Jo Carol Pierce, 1993 Paul Ray, Stevie Ray Vaughan, and PHOTOS BY MARTHA GRENON MARTHA BY PHOTOS Joe Ely, 1990 Daniel Johnston, Living in a Dream 1990 35 YEARS OF THE AUSTIN MUSIC AWARDS BY DOUG FREEMAN n retrospect, confrontation seemed almost a genre taking up the gauntlet after Nelson’s clashing,” admits Moser with a mixture of The Big Boys broil through trademark inevitable. Everyone saw it coming, but no outlaw country of the Seventies. Then Stevie pride and regret at the booking and subse- confrontational catharsis, Biscuit spitting one recalls exactly what set it off. Ray Vaughan called just prior to the date to quent melee. “What I remember of the night is beer onto the crowd during “Movies” and rip- I Blame the Big Boys, whose scathing punk ask if his band could play a surprise set. The that tensions started brewing from the outset ping open a bag of trash to sling around for a classed-up Austin Music Awards show booking, like the entire evening, transpired so between the staff of the Opera House, which the stage as the mosh pit gains momentum audience visited the genre’s desired effect on casually that Moser had almost forgotten until was largely made up of older hippies of a Willie during “TV.” the era. Blame the security at the Austin Stevie Ray and Jimmie Vaughan walked in Nelson persuasion who didn’t take very kindly About 10 minutes in, as the quartet sears into Opera House, bikers and ex-Navy SEALs from with Double Trouble and to the Big Boys, and the Big “Complete Control,” security charges from the Willie Nelson’s road crew, who typical of the proceeded to unleash a dev- ANY HISTORY OF Boys themselves, who were stage wings at the first stage divers.
    [Show full text]
  • Sir Douglas Quintet
    Sir Douglas Quintet The Sir Douglas Quintet: Emerging from San Antonio‟s “West Side Sound,” The Sir Douglas Quintet blended rhythm and blues, country, rock, pop, and conjunto to create a unique musical concoction that gained international popularity in the 1960s and 1970s. From 1964 to 1972, the band recorded five albums in California and Texas, and, although its founder, Doug Sahm, released two additional albums under the same group name in the 1980s and 1990s, the Quintet never enjoyed the same domestic success as it had during the late 1960s. A big part of the Sir Douglas Quintet‟s distinctive sound derived from the unique musical environment in which its members were raised in San Antonio. During the 1950s and 1960s, the “moderate racial climate” and ethnically diverse culture of San Antonio—caused in part by the several desegregated military bases and the large Mexican-American population there—allowed for an eclectic cross- pollination of musical styles that reached across racial and class lines. As a result, Sahm and his musical friends helped create what came to be known as the “West Side Sound,” a dynamic blending of blues, rock, pop, country, conjunto, polka, R&B, and other regional and ethnic musical styles into a truly unique musical amalgamation. San Antonio-based artists, such as Augie Meyers, Doug Sahm, Flaco Jiménez, and Sunny Ozuna, would help to propel this sound onto the international stage. Born November 6, 1941, Douglas Wayne Sahm grew up on the predominately-black east side of San Antonio. As a child, he became proficient on a number of musical instruments and even turned down a spot on the Grand Ole Opry (while still in junior high school) in order to finish his education.
    [Show full text]
  • 2008 Smithsonian Folklife Festival
    Smithsonian Folklife Festival records: 2008 Smithsonian Folklife Festival CFCH Staff 2017 Ralph Rinzler Folklife Archives and Collections Smithsonian Center for Folklife and Cultural Heritage 600 Maryland Ave SW Washington, D.C. [email protected] https://www.folklife.si.edu/archive/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Historical note.................................................................................................................. 2 Scope and Contents note................................................................................................ 2 Arrangement note............................................................................................................ 2 Introduction....................................................................................................................... 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Program Books, Festival Publications, and Ephemera, 2008................... 6 Series 2: Bhutan: Land of the Thunder Dragon....................................................... 7 Series 3: NASA: Fifty Years and Beyond.............................................................
    [Show full text]
  • San Antonio's West Side Sound
    Olsen: San Antonio's West Side Sound San Antonio’s SideSound West Antonio’s San West Side Sound The West Side Sound is a remarkable they all played an important role in shaping this genre, Allen O. Olsen amalgamation of different ethnic beginning as early as the 1950s. Charlie Alvarado, Armando musical influences found in and around Almendarez (better known as Mando Cavallero), Frank San Antonio in South-Central Texas. It Rodarte, Sonny Ace, Clifford Scott, and Vernon “Spot” Barnett includes blues, conjunto, country, all contributed to the creation of the West Side Sound in one rhythm and blues, polka, swamp pop, way or another. Alvarado’s band, Charlie and the Jives, had such rock and roll, and other seemingly regional hits in 1959 as “For the Rest of My Life” and “My disparate styles. All of these have Angel of Love.” Cavallero had an influential conjunto group somehow been woven together into a called San Antonio Allegre that played live every Sunday sound that has captured the attention of morning on Radio KIWW.5 fans worldwide. In a sense, the very Almendarez formed several groups, including the popular eclectic nature of the West Side Sound rock and roll band Mando and the Chili Peppers. Rodarte led reflects the larger musical environment a group called the Del Kings, which formed in San Antonio of Texas, in which a number of ethnic during the late 1950s, and brought the West Side Sound to Las communities over the centuries have Vegas as the house band for the Sahara Club, where they exchanged musical traditions in a remained for nearly ten years.6 Sonny Ace had a number of prolific “cross-pollination” of cultures.
    [Show full text]
  • October 15, 2013 5% DISCOUNT on New Release Items Through Oct 22
    OCTOBER NEW RELEASE GUIDE STREET DATE: October 15, 2013 5% DISCOUNT on New Release Items through Oct 22 Burnside Distribution Corp, 6635 N. Baltimore Ave, Suite 285, Portland, OR, 97203 phone (503) 231-0876 / fax (503) 231-0420 / www.bdcdistribution.com BDC New Releases Oct 2013 (503) 231-0876 / www.bdcdistribution.com 2 Oct 2013 Welcome!!BDC Welcome!! New Releases Augie Meyers - often imitated; never duplicated. A legend whose 50+ year career has resulted in Sean Chambers has not been in a hurry - he knows that patience is a virtue, good things come to those who wait, you can’t hurry love and a half-dozen other aphorisms. He spent five years with Grammys, chart hits and 17 solo albums. Here is the latest; a Texas-centric Country album with Hubert Sumlin before going solo and has only now released his fifth album in a decade and a nods toward Harlan Howard and Lefty Frizell. He is one of a kind. half; a patient man who records music he wishes to instead of dropping some kind of a new Recess Monkey is from Seattle but known nationally with great press, exposure on SiriusXM Kids album every other year just to tour behind. The Rock House Sessions is more than worth the wait. Place Live due to member Jack Forman’s daily program and their tenth(!) release. And check out In the last couple of years, Burnside has reached an affinity with Minneapolis bands; be it The these new ones by Quiet Life (on tour with The Head and The Heart), Modern Kin, Vikesh Kapoor, Shouting Matches, Polica, Solid Gold, The Ocean Blue or Davina and the Vagabonds, we’ve been Field Study, Patrick Park and Son of Stan.
    [Show full text]
  • Sir Doug & the Texas Tornados
    Sir Doug & The Texas Tornados Texas Rock For Country Rollers mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Folk, World, & Country Album: Texas Rock For Country Rollers Country: UK Released: 1997 Style: Country Rock, Classic Rock, Psychedelic Rock, Country MP3 version RAR size: 1987 mb FLAC version RAR size: 1105 mb WMA version RAR size: 1173 mb Rating: 4.8 Votes: 227 Other Formats: FLAC DXD AHX VQF MP2 FLAC APE Tracklist Hide Credits I Love The Way You Love (The Way I Love You) 1 5:17 Written-By – Atwood Allen Cowboy Peyton Place 2 3:35 Written-By – Doug Sahm Give Back The Key To My Heart 3 2:51 Written-By – Doug Sahm Wolverton Mountain 4 2:30 Written-By – Claude King , Merle Kilgore Texas Ranger Man 5 3:24 Written-By – Doug Sahm Float Away 6 2:38 Written-By – Doug Sahm I'm Missing You 7 3:02 Written-By – Doug Sahm Gene Thomas Medley: Sometimes/Cryin' Inside 8 2:41 Written-By – Gene Thomasson Country Groove 9 2:21 Written-By – Doug Sahm You Can't Hide A Redneck (Under That Hippy Hair) 10 3:55 Written-By – Doug Sahm Companies, etc. Recorded At – Sugar Hill Studios Phonographic Copyright (p) – MCA Records Copyright (c) – Demon Records Ltd. Licensed From – MCA Records Published By – Crazy Cajun Music Published By – Menace Music Ltd. Published By – Shapiro Bernstein & Co. Ltd. Published By – Grand Prize Credits A&R [Director] – Uncle Mickey Moody Acoustic Guitar – Uncle Mickey Moody Arranged By – Doug Sahm Art Direction – Tom Wilkes Bass – Jack Barber Coordinator [Talent Co-ordinator] – Jim Groenewegen Crew [Executive Crew] – Augie Meyers, J.T.Groenewegen, Lucky Tomblin Crew [Road Crew] – Billy Bob, Speedy Sparks Drums – George Rains Engineer – Uncle Mickey Moody Fiddle – Doug Sahm Guitar – Doug Sahm Harp – Harry Hess Liner Notes – Ed Ward Liner Notes [Last Four Paragraphs] – Val Jennings Management [Agent] – Jim Groenewegen Organ [Hammond] – Augie Meyers Organ [Vox] – Augie Meyers Photography By – Tom Wilkes Photography By [Juke Box Picture] – Burton Wilson Piano – Augie Meyers, Doug Sahm Producer – Huey P.
    [Show full text]
  • Home with the Armadillo
    Mellard: Home with the Armadillo Home with the Armadillo: Public Memory and Performance in the 1970s Austin Music Scene Jason Dean Mellard 8 Produced by The Berkeley Electronic Press, 2010 1 Greezy Wheels performing at the Armadillo World Headquarters. Photo courtesy of the South Austin Popular Culture Center. Journal of Texas Music History, Vol. 10 [2010], Iss. 1, Art. 3 “I wanna go home with the Armadillo Good country music from Amarillo and Abilene The friendliest people and the prettiest women You’ve ever seen.” These lyrics from Gary P. Nunn’s “London Homesick Blues” adorn the wall above the exit from the Austin Bergstrom International Airport baggage claim. For years, they also played as the theme to the award-winning PBS series Austin City Limits. In short, they have served in more than one instance as an advertisement for the city’s sense of self, the face that Austin, Texas, presents to visitors and national audiences. The quoted words refer, if obliquely, to a moment in 9 the 1970s when the city first began fashioning itself as a key American site of musical production, one invested with a combination of talent and tradition and tolerance that would make of it the self-proclaimed “Live Music Capital of the World.”1 In many ways, the venue of the Armadillo World Headquarters served as ground zero for these developments, and it is often remembered as a primary site for the decade’s supposed melding of Anglo-Texan traditions and countercultural lifestyles.2 This strand of public memory reveres the Armadillo as a place in which
    [Show full text]
  • Austin's Progressive Country Music Scene and the Negotiation
    Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978 Travis David Stimeling A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements of the Doctor of Philosophy in the Department of Music. Chapel Hill 2007 Approved by: Jocelyn R. Neal, Chair Jon W. Finson David García Mark Katz Philip Vandermeer © 2007 Travis David Stimeling ALL RIGHTS RESERVED ii ABSTRACT TRAVIS DAVID STIMELING: “Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978” (Under the direction of Jocelyn R. Neal) The progressive country music movement developed in Austin, Texas, during the early 1970s as a community of liberal young musicians and concertgoers with strong interests in Texan country music traditions and contemporary rock music converged on the city. Children of the Cold War and the post-World War II migration to the suburbs, these “cosmic cowboys” sought to get back in touch with their rural roots and to leave behind the socially conservative world their parents had created for them. As a hybrid of country music and rock, progressive country music both encapsulated the contradictions of the cosmic cowboys in song and helped to create a musical sanctuary in which these youths could articulate their difference from mainstream Texan culture. Examining the work of the movement’s singer-songwriters (Michael Murphey, Guy Clark, Gary P. Nunn), western swing revivalists (Asleep at the Wheel, Alvin Crow and the Pleasant Valley Boys), and commercial country singers (Willie Nelson, Waylon Jennings), this dissertation explores the proliferation of stock imagery, landscape painting, and Texan stereotypes in progressive country music and their role in the construction of Austin’s difference.
    [Show full text]
  • Tedde, Adriano Antonio
    The Other America of Paul Auster, Jim Jarmusch and Tom Waits Author Tedde, Adriano Antonio Published 2019-10-23 Thesis Type Thesis (PhD Doctorate) School School of Hum, Lang & Soc Sc DOI https://doi.org/10.25904/1912/2054 Copyright Statement The author owns the copyright in this thesis, unless stated otherwise. Downloaded from http://hdl.handle.net/10072/388986 Griffith Research Online https://research-repository.griffith.edu.au The Other America of Paul Auster, Jim Jarmusch and Tom Waits Adriano Tedde, PhD candidate School of Humanities, Languages and Social Sciences Griffith University. Thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy March 2019 0 ABSTRACT This thesis employs popular culture texts (works of literature, film, and popular music) as companions to the understanding of contemporary America. It is about artworks that form a cultural resistance that enables the appreciation of social issues and cultural decline in the United States. The authors of these artworks are novelist Paul Auster, filmmaker Jim Jarmusch, and musician Tom Waits. Born between the late 1940s and the early 1950s, in different parts of the United States, Auster, Jarmusch, and Waits have produced a series of works that share strong similarities. In their novels, films, and songs, they portray an imagined “Other America” that is in stark contrast with the idyllic vision of the American Dream. Their America does not coincide with conventional middle-class values and goals of success, money and social upward mobility. It is an open, tolerant, and egalitarian country inhabited by marginalized “other Americans” who never escape from poverty and failure.
    [Show full text]
  • Readers Liked Our Death of Bulverde Column Augie Meyers Said It
    www.Brookspub.biz FEBRUARY E NTERTAINMENT FRI 6 LICK FRI 20 PROTOTYPE SAT 7 BOWTIES SAT 21 FLIPSIDE FRI 13 EDDIE & THE BOOZERS FRI 27 BLACK THUNDER SAT 14 SPITFIRE SAT 28 GROOVELINE HAPPY VALENTINE’S DAY FROM ALL OF US AT BROOKS PUB FEBRUARY 21ST COME CELEBRATE MICHELLE’S BIRTHDAY. .21 AGAIN? Keep connected with Brookspub.biz and Brooks Pub on Facebook for upcoming Events. Also check our Marque out front. Don’t Miss Out! Daily Drink Specials Everyday! Ask one of our beautiful bartenders for details. DARTS • POOL • FREE SHUFFLEBOARD• BARTOP MEGATOUCHS the trap • 533-3060 4711 Pecan Valley • I.D. Required FEBRUARY Music Line Up FEBRUARY SPECIALS (all month long) 9:30 pm - 1:30 am Fri X-Rated Fusion Vodka $3.00 FRI 6 JUKEBOX ‘40’ A “ROCK N ROLL” TRADITION SINCE 1975 SAT 7 DJ BY ROI Sat Redheaded Slut $3.50 FRI 13 JUKEBOX ‘40’ SAT 14 DJ BY ROI Monthly Beer Special - Hopa Dillo $3.00 LIVE MUSIC IN february FRI 20 JUKEBOX ‘40’ Monthly Shot Special - Big Red $3.00 6 MISTAKEN IDENTITY 20 SUPERSTITIOUS MINDS SAT 21 DJ BY ROI 7 IRON 60 21 DV8 FRI 27 JUKEBOX ‘40’ TEQUILA SPECIAL OF THE MONTH: 13 MTO 27 TBA SAT 28 DJ BY ROI 14 CHARLIE BRAVO 28 SPITFIRE DIVA Pink Tequila $3.00 FRANKLY SPEAKING: NO I’M NOT TOTALLY FREAKING Never a Cover Charge PENASCO Tequila Blanco $2.50 - I’M JUST MEDICALLY SPEAKING! D.N.R. EVERY Day Is S.I.N. IF YOU SEE ME IN AN ACCIDENT UNIFORMS & SENIOR Day WHILE DRIVING IN MY CAR DON’T KNOW WHERE I’M GOING AND I GET EJECTED I HOPE THE PEARLY GATE 15% DISCOUNT for Service Industry Try our Seniors (over 60) ONTO THE HIGHWAY TAR SO JUST LEAVE ME ALONE PLEASE LEAVE ME ALONE, BECAUSE I’M DNR! DO NOT RESUSCITATE! & Uniform (military, Diva Tequila Sunset law enforcement, fire dept.
    [Show full text]
  • Charles Earle's
    CATAMOUNT T #82/171 NOVEMBER 2003 Paige Ladrone 4 Eric Babcock CHARLES EARLE's B-Sides JOHN THE REVEALATOR FREEFORM AMERICAN ROOTS #51 REVIEWS (or not) David Brake & That Damn Band Albert Lee Rick Shea & Patty Booker Wailin' Elroys TMRU BESTSELLER!!! SCRAPPY JUD NEWCOMB'S “TURBINADO" texas íí:::c round-dp YOUR INDEPENDENT TEXAS MUSIC SUPERSTORE Buy 5 CDs for $10 each! Me R i s in TH! E n T s "A BOUNTY-SIZED CREW OF TEXAS MUSIC HITTERS HAVE STEPHEN BRUTON JON DEE GRAHAM JOINED FORCES FOR ONE WILD TOUR DE FORCE THAT HAS JUD NEWCOMB BRUCE HUGHES > TO BE HEARD TO BE BELIEVED. TRULY AN ASSEMBLAGE THAT'S JOHN CHIPMAN A DREAM BAND, THE KILLER MUSIC FLOWS LIKE WATER." - MIDWEST RECORD RECAP IY TOMBUN BAND FEATURING REDO VOLKAERT EARL POOLE BALL CINDY CASHDOLLAR SARAH BROWN BOBBY ARNOLD JON HAHN WITH SPECIAL GUEST AUGIE MEYERS "THIS IS THE KIND OF UNDER-THE-RADAR COUNTRY ALBUM THAT RENEWS ONE'S FAITH IN THE INDIE SCENE IN GENERAL, AND TEXAS IN PARTICULAR." -SLIPCUE.COM TEXAS WORLD RECORDS 210 Barron Springs Road, Suite 550, Austin, Texas 78704 512-615-2412 “To my mind, she’s the best new thing to come down this Austin pike in some time, displaying class, versatility, and a distinctiveness...” -Mob Patterson,Country Music People “ Every once in a while, a musician moves to Austin and knocks the town on it’s ear. Elizabeth McQueen is one of those.” -Jim Caliguirl,Austin Chronicle "It's country for those with dirt under their fingernails and rock for those with dust on their jeans..
    [Show full text]
  • Conjunto Heritage Taller Celebrates San Antonio's Home Grown Talent with 13Th Annual Tardeada
    FOR IMMEDIATE RELEASE Conjunto Heritage Taller Celebrates San Antonio’s Home Grown Talent with 13th Annual Tardeada Saturday, October 15, 2016, 6:00-11:00pm La Villita, Maverick Plaza, downtown San Antonio Honoring Conjunto legend Flaco Jimenez Premiere of CHT All-Stars San Antonio, TX (September 6, 2016)— The non-profit music organization, Conjunto Heritage Taller (Taller), celebrates San Antonio’s home-grown Conjunto talent on Saturday, October 15, 2016, at La Villita in downtown San Antonio. The Annual Tardeada is now in its 13th year of presenting Conjunto music to City residents and downtown tourists looking for an authentic dose of this South Texas musical tradition. “Keeping Conjunto music alive is the mission of the Taller and we are fortunate to have fostered the great talent that we are presenting today,” said Rodolfo Lopez, co-founder and artistic director of the Taller. “Students as young as 7 to seniors reaching 80 have taken part in our classes. It is a celebration of San Antonio’s rich culture for all to enjoy.” This year, the Taller is highlighting the talents of its current and former students as well as its renown instructors. The evening kicks off with current students showcasing what they’ve learned over the course of their time at the Taller. Under the instruction of accordionist, Lorenzo Martinez, students will perform in the traditional Conjunto style with only a bajo sexto accompaniment. Mr. Martinez will perform along with students and as a solo act. Following performances by our current students is well-respected veteran of the Conjunto scene, Jesse Borrego.
    [Show full text]