Rock Singer Suzi Quatro
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100 Years: a Century of Song 1970S
100 Years: A Century of Song 1970s Page 130 | 100 Years: A Century of song 1970 25 Or 6 To 4 Everything Is Beautiful Lady D’Arbanville Chicago Ray Stevens Cat Stevens Abraham, Martin And John Farewell Is A Lonely Sound Leavin’ On A Jet Plane Marvin Gaye Jimmy Ruffin Peter Paul & Mary Ain’t No Mountain Gimme Dat Ding Let It Be High Enough The Pipkins The Beatles Diana Ross Give Me Just A Let’s Work Together All I Have To Do Is Dream Little More Time Canned Heat Bobbie Gentry Chairmen Of The Board Lola & Glen Campbell Goodbye Sam Hello The Kinks All Kinds Of Everything Samantha Love Grows (Where Dana Cliff Richard My Rosemary Grows) All Right Now Groovin’ With Mr Bloe Edison Lighthouse Free Mr Bloe Love Is Life Back Home Honey Come Back Hot Chocolate England World Cup Squad Glen Campbell Love Like A Man Ball Of Confusion House Of The Rising Sun Ten Years After (That’s What The Frijid Pink Love Of The World Is Today) I Don’t Believe In If Anymore Common People The Temptations Roger Whittaker Nicky Thomas Band Of Gold I Hear You Knocking Make It With You Freda Payne Dave Edmunds Bread Big Yellow Taxi I Want You Back Mama Told Me Joni Mitchell The Jackson Five (Not To Come) Black Night Three Dog Night I’ll Say Forever My Love Deep Purple Jimmy Ruffin Me And My Life Bridge Over Troubled Water The Tremeloes In The Summertime Simon & Garfunkel Mungo Jerry Melting Pot Can’t Help Falling In Love Blue Mink Indian Reservation Andy Williams Don Fardon Montego Bay Close To You Bobby Bloom Instant Karma The Carpenters John Lennon & Yoko Ono With My -
Dec. 22, 2015 Snd. Tech. Album Arch
SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London. -
Sweet at Top of the Pops
1-4-71: Presenter: Tony Blackburn (Wiped) THE SWEET – Funny Funny ELVIS PRESLEY – There Goes My Everything (video) JIMMY RUFFIN – Let’s Say Goodbye Tomorrow CLODAGH RODGERS – Jack In The Box (video) FAME & PRICE TOGETHER – Rosetta CCS – Walkin’ (video) (danced to by Pan’s People) THE FANTASTICS – Something Old, Something New (crowd dancing) (and charts) YES – Yours Is No Disgrace T-REX – Hot Love ® HOT CHOCOLATE – You Could Have Been A Lady (crowd dancing) (and credits) ........................................................................................................................................................ THIS EDITION OF TOTP IS NO LONGER IN THE BBC ARCHIVE, HOWEVER THE DAY BEFORE THE BAND RECORDED A SHOW FOR TOPPOP AT BELLEVIEW STUDIOS IN AMSTERDAM, WEARING THE SAME STAGE OUTFITS THAT THEY HAD EARLIER WORN ON “LIFT OFF”, AND THAT THEY WOULD WEAR THE FOLLOWING DAY ON TOTP. THIS IS THE EARLIEST PICTURE I HAVE OF A TV APPEARANCE. 8-4-71: Presenter: Jimmy Savile (Wiped) THE SWEET – Funny Funny ANDY WILLIAMS – (Where Do I Begin) Love Story (video) RAY STEVENS – Bridget The Midget DAVE & ANSIL COLLINS – Double Barrel (video) PENTANGLE – Light Flight JOHN LENNON & THE PLASTIC ONO BAND – Power To The People (crowd dancing) (and charts) SEALS & CROFT – Ridin’ Thumb YVONNE ELLIMAN, MURRAY HEAD & THE TRINIDAD SINGERS – Everything's All Right YVONNE ELLIMAN, MURRAY HEAD & THE TRINIDAD SINGERS – Superstar T-REX – Hot Love ® DIANA ROSS – Remember Me (crowd dancing) (and credits) ......................................................................................................................................................... -
Donovan 2012.Pdf
PERFORMERS PARKE PUTERBAUGH NOT DUST POP LYRICS BUT MODERN POETRY The view o f the sixties is so generalized it’s good to open up the of the Witch”), and the Allman Brothers Band (whose spirituality o f it and what the music was trying to represent. “Mountain Jam” was based on Donovan’s “There Is a It was certainly not just getting stoned and hanging out, man. Mountain”). Beyond all that, he was a gentle spirit who There was meaning and direction; there was substance to it. sang unforgettably of peace, love, enlightenment, wild —Donovan scenes, and magical visions. Born Donovan Leitch in Glasgow, Scotland, in onovan was the Pied Piper of the counterculture. 1946, he moved at age 10 with his family to Hatfield, A sensitive Celtic folk-poet with an adventurous Hertfordshire, England. After turning 1 6, he pursued a musical mind, he was a key figure on the British romantic wanderlust, running off to roam alongside Beat Dscene during its creative explosion in the mid-sixties. He and bohemian circles. He also studiously applied himself wrote and recorded some of the decade’s most memorable to the guitar, learning a sizable repertoire of folk and blues songs, including “Catch the Wind,” “Sunshine Superman,” songs, with the requisite fingerings. A single appearance “Hurdy Gurdy Man,” and “Atlantis.” He charted a dozen during a performance by some friends’ R & B band resulted Top Forty hits in the U.S. and a nearly equal number in the in an offer for Donovan to cut demos in London, which led U.K. -
Marygold Manor DJ List
Page 1 of 143 Marygold Manor 4974 songs, 12.9 days, 31.82 GB Name Artist Time Genre Take On Me A-ah 3:52 Pop (fast) Take On Me a-Ha 3:51 Rock Twenty Years Later Aaron Lines 4:46 Country Dancing Queen Abba 3:52 Disco Dancing Queen Abba 3:51 Disco Fernando ABBA 4:15 Rock/Pop Mamma Mia ABBA 3:29 Rock/Pop You Shook Me All Night Long AC/DC 3:30 Rock You Shook Me All Night Long AC/DC 3:30 Rock You Shook Me All Night Long AC/DC 3:31 Rock AC/DC Mix AC/DC 5:35 Dirty Deeds Done Dirt Cheap ACDC 3:51 Rock/Pop Thunderstruck ACDC 4:52 Rock Jailbreak ACDC 4:42 Rock/Pop New York Groove Ace Frehley 3:04 Rock/Pop All That She Wants (start @ :08) Ace Of Base 3:27 Dance (fast) Beautiful Life Ace Of Base 3:41 Dance (fast) The Sign Ace Of Base 3:09 Pop (fast) Wonderful Adam Ant 4:23 Rock Theme from Mission Impossible Adam Clayton/Larry Mull… 3:27 Soundtrack Ghost Town Adam Lambert 3:28 Pop (slow) Mad World Adam Lambert 3:04 Pop For Your Entertainment Adam Lambert 3:35 Dance (fast) Nirvana Adam Lambert 4:23 I Wanna Grow Old With You (edit) Adam Sandler 2:05 Pop (slow) I Wanna Grow Old With You (start @ 0:28) Adam Sandler 2:44 Pop (slow) Hello Adele 4:56 Pop Make You Feel My Love Adele 3:32 Pop (slow) Chasing Pavements Adele 3:34 Make You Feel My Love Adele 3:32 Pop Make You Feel My Love Adele 3:32 Pop Rolling in the Deep Adele 3:48 Blue-eyed soul Marygold Manor Page 2 of 143 Name Artist Time Genre Someone Like You Adele 4:45 Blue-eyed soul Rumour Has It Adele 3:44 Pop (fast) Sweet Emotion Aerosmith 5:09 Rock (slow) I Don't Want To Miss A Thing (Cold Start) -
Monster Hits Weekend! 31 October
MONSTER HITS WEEKEND! 31 OCTOBER - 1 NOVEMBER 2020 POP MUZIK M DEVIL GATE DRIVE SUZI QUATRO TIGHTER, TIGHTER ALIVE AND KICKING DRESSED FOR SUCCESS ROXETTE OUR LIPS ARE SEALED GO GO'S YOU'RE MOVING OUT TODAY CAROL BAYER SAGER TOO YOUNG TO BE MARRIED THE HOLLIES UPTOWN GIRL BILLY JOEL SOME GIRLS RACEY BEAST OF BURDEN BETTE MIDLER SUGAR BABY LOVE RUBETTES SHE'S THE ONE THE COCKROACHES TAKE IT EASY THE EAGLES SOMETHING'S WRONG WITH ME AUSTIN ROBERTS GOOSE BUMPS CHRISTIE ALLEN HOW DO YOU DO? MOUTH & McNEAL GOOD MORNING STARSHINE OLIVER TIRED OF TOWING THE LINE ROCKY BURNETTE COTTONFIELDS BEACH BOYS S-S-S-SINGLE BED FOX MOST PEOPLE I KNOW THINK THAT I'M CRAZY BILLY THORPE ETERNAL FLAME THE BANGLES HORROR MOVIE SKYHOOKS NINETEENTH NERVOUS BREAKDOWN THE ROLLING STONES GET USED TO IT ROGER VOUDOURIS ONE TIN SOLDIER COVEN ROCKABILLY REBEL MAJOR MATCHBOX LIFE IN A NORTHERN TOWN DREAM ACADEMY WARM RIDE GRAHAM BONNET THE LOVE GAME JOHN PAUL YOUNG KOKOMO BEACH BOYS STAYIN' ALIVE BEE GEES TOAST AND MARMALADE FOR TEA TIN TIN JANUARY PILOT DON'T PAY THE FERRYMAN CHRIS DeBURGH HIT THE ROAD JACK RAY CHARLES MY COO CA CHOO ALVIN STARDUST ESCAPE RUPERT HOLMES BANG BANG BA ROBERTSON WHENEVER YOU NEED SOMEBODY RICK ASTLEY YOU GOT IT ROY ORBISON LUCKY NUMBER LENE LOVICH DO IT AGAIN BEACH BOYS EYE OF THE TIGER SURVIVOR LITTLE RED ROOSTER THE ROLLING STONES SEASONS IN THE SUN TERRY JACKS I GOT YOU SPLIT ENZ EAGLE ROCK DADDY COOL LIFE SHERBET COMPUTER GAMES MI SEX SHE'S SO FINE EASYBEATS KING OF WISHFUL THINKING GO WEST WHEN I'M DEAD AND GONE McGUINNESS FLINT HAIR -
Stumblin' in - Smokie (Chris Norman, Suzi Quatro) Key of G 1 of 1 [Chorus] [Male] [Female] [Both]
Stumblin' In - Smokie (Chris Norman, Suzi Quatro) Key of G 1 of 1 [Chorus] [Male] [Female] [Both] Our love is alive - and so we begin Foolishly layin' our hearts on the table - stumblin' in Our love is a flame - burnin' within Now and then, firelight will catch us - stumblin' in Wherever you go - whatever you do You know these reckless thoughts of mine are followin' you I've fallen for you - whatever you do 'Cause baby you've shown me so many things that I never knew Whatever it takes - baby, I'll do it for you Our love is alive - and so we begin Foolishly layin' our hearts on the table - stumblin' in Our love is a flame - burnin' within Now and then, firelight will catch us - stumblin' in instrumental Am / / / D / / / G / / / Em / / / Am / / / D / / / G / / / / / / / You were so young - oh, and I was so free I may have been young but baby that's not what I wanted to be Well you were the one - oh, why was it me 'Cause baby you've shown me so many things that I'd never seen Whatever you need - baby, you got it from me Our love is alive - and so we begin Foolishly layin' our hearts on the table - stumblin' in Our love is a flame - burnin' within Now and then, firelight will catch us - stumblin' in Stumblin' in - stumblin' in Foolishly layin' our hearts on the table - stumblin' in Ah, stumblin' in - Mmmm, stumblin' in Now and then fire light will catch us - stumblin' in Oh, stumblin' in - I'm stumblin' in Foolishly layin' our hearts on the table - stumblin' in For personal non-commercial use only. -
Joan Jett & the Blackhearts
Joan Jett & the Blackhearts By Jaan Uhelszki As leader of her hard-rockin’ band, Jett has influenced countless young women to pick up guitars - and play loud. IF YOU HAD TO SIT DOWN AND IMAGINE THE IDEAL female rocker, what would she look like? Tight leather pants, lots of mascara, black (definitely not blond) hair, and she would have to play guitar like Chuck Berry’s long-lost daughter. She wouldn’t look like Madonna or Taylor Swift. Maybe she would look something like Ronnie Spector, a little formidable and dangerous, definitely - androgynous, for sure. In fact, if you close your eyes and think about it, she would be the spitting image of Joan Jett. ^ Jett has always brought danger, defiance, and fierceness to rock & roll. Along with the Blackhearts - Jamaican slang for loner - she has never been afraid to explore her own vulnerabilities or her darker sides, or to speak her mind. It wouldn’t be going too far to call Joan Jett the last American rock star, pursuing her considerable craft for the right reason: a devo tion to the true spirit of the music. She doesn’t just love rock & roll; she honors it. ^ Whether she’s performing in a blue burka for U.S. troops in Afghanistan, working for PETA, or honoring the slain Seattle singer Mia Zapata by recording a live album with Zapata’s band the Gits - and donating the proceeds to help fund the investigation of Zapata’s murder - her motivation is consistent. Over the years, she’s acted as spiritual advisor to Ian MacKaye, Paul Westerberg, and Peaches. -
HYDE HALL/GREAT HYDE HALL. the Story of a Manorial Home
HYDE HALL/GREAT HYDE HALL. The Story of a Manorial Home. The house has usually been called simply Hyde Hall. However, it is strictly speaking known as Great Hyde Hall, which of course differentiates it from the Royal Horticultural Society Garden at Hyde Hall, Chelmsford. BEGINNINGS. Being so far removed in time from the events concerned, much of the following section of this article is necessarily conjecture, but it is firmly based upon a logical extrapolation of facts. The siting of Hyde Hall is interesting. The implications and circumstantial evidence show that it may be the original site of the demesne of the first local Saxon Lord (there was no such thing as a Lord of the Manor at that time). Due to the heavy forestation of the local land, access was limited to the area around Sawbridgeworth. Rivers however, did provide a means of transport. The Saxons were quite late in arriving here, possibly not coming in numbers until after the year 500, having followed the River Stort valley. Indeed, the earliest local archaeologic Saxon finds are from the area of the river. It thus would make sense that the first Saxon Lord would site his house there. The very name ‘Sawbridgeworth’ (Saxbrixteworde in Domesday) also gives us a clue. One interpretation (there are others) of the name reads ‘Toll Bridge by the Manor’. This is taken from the following: Sax = Salt Salt was still used as a form of payment in late Roman/early Saxon times. Brixte = Bridge. Worde/Worthig = Fortified Manor. Another clue comes from Domesday which recorded a pre-existing watermill here for 1066. -
March Newsletter
MARCH 2021 EDITION Hello from Centre Management! Welcome to the March edition of the What's Bzzz'n newsletter which means we have entered the first month of Autumn! We've seen some wonderful achievements happen over the past month. The 60m-stretch street art mural has been completed along Brierly Street. It's bright, fun and a tribute to our spectacular Canberran native bird life. We're excited to announce that Cooleman Court is now running off 100% renewable electricity along with Mirvac's 15 other shopping centres! Read on further to see how many car’s equivalent this is taking off the road (hint: the number ends with 000's!) You might have also noticed that our Book Nook and seating area outside of the St George Bank, have been treated to a refresh with new rugs displaying beautiful Indigenous artwork. We encourage you to check it out on your next visit! We're also excited for the upcoming Songland Annual Music & Movie Sale Day in support of the RSPCA ACT. We encourage you to donate your pre-loved CDs, DVDs, records, cassette tapes and TV series on DVD to Songland in support of this great cause, and also encourage you to come in and look through the many We’d love to share any of your own hints and tips on treasures you might find and see if you can collect a being sustainable. Simply let us bargain. know via email at [email protected], Centre Manager, or direct message us on Facebook Irini @CoolemanCourt www.coolemancourt.com.au Mirvac Shopping Centres now powered Share Your Love of Music and Movies to by 100% renewable electricity Support the RSCPA ACT Cooleman Court runs off renewable electricity. -
THE BIRTH of HARD ROCK 1964-9 Charles Shaar Murray Hard Rock
THE BIRTH OF HARD ROCK 1964-9 Charles Shaar Murray Hard rock was born in spaces too small to contain it, birthed and midwifed by youths simultaneously exhilarated by the prospect of emergent new freedoms and frustrated by the slow pace of their development, and delivered with equipment which had never been designed for the tasks to which it was now applied. Hard rock was the sound of systems under stress, of energies raging against confnement and constriction, of forces which could not be contained, merely harnessed. It was defned only in retrospect, because at the time of its inception it did not even recognise itself. The musicians who played the frst ‘hard rock’ and the audiences who crowded into the small clubs and ballrooms of early 1960s Britain to hear them, thought they were playing something else entirely. In other words, hard rock was – like rock and roll itself – a historical accident. It began as an earnest attempt by British kids in the 1960s, most of whom were born in the 1940s and raised and acculturated in the 1950s, to play American music, drawing on blues, soul, R&B, jazz and frst-generation rock, but forced to reinvent both the music, and its world, in their own image, resulting in something entirely new. However, hard rock was neither an only child, nor born fully formed. It shared its playpen, and many of its toys, with siblings (some named at the time and others only in retrospect) like R&B, psychedelia, progressive rock, art-rock and folk-rock, and it emerged only gradually from the intoxicating stew of myriad infuences that formed the musical equivalent of primordial soup in the uniquely turbulent years of the second (technicolour!) half of the 1960s. -
Glam Rock by Barney Hoskyns 1
Glam Rock By Barney Hoskyns There's a new sensation A fabulous creation, A danceable solution To teenage revolution Roxy Music, 1973 1: All the Young Dudes: Dawn of the Teenage Rampage Glamour – a word first used in the 18th Century as a Scottish term connoting "magic" or "enchantment" – has always been a part of pop music. With his mascara and gold suits, Elvis Presley was pure glam. So was Little Richard, with his pencil moustache and towering pompadour hairstyle. The Rolling Stones of the mid-to- late Sixties, swathed in scarves and furs, were unquestionably glam; the group even dressed in drag to push their 1966 single "Have You Seen Your Mother, Baby, Standing in the Shadow?" But it wasn't until 1971 that "glam" as a term became the buzzword for a new teenage subculture that was reacting to the messianic, we-can-change-the-world rhetoric of late Sixties rock. When T. Rex's Marc Bolan sprinkled glitter under his eyes for a TV taping of the group’s "Hot Love," it signaled a revolt into provocative style, an implicit rejection of the music to which stoned older siblings had swayed during the previous decade. "My brother’s back at home with his Beatles and his Stones," Mott the Hoople's Ian Hunter drawled on the anthemic David Bowie song "All the Young Dudes," "we never got it off on that revolution stuff..." As such, glam was a manifestation of pop's cyclical nature, its hedonism and surface show-business fizz offering a pointed contrast to the sometimes po-faced earnestness of the Woodstock era.