Rita Coolidge Anytime...Anywhere Mp3, Flac, Wma

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Rita Coolidge Anytime...Anywhere mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop / Folk, World, & Country Album: Anytime...Anywhere Country: Canada Released: 1977 MP3 version RAR size: 1544 mb FLAC version RAR size: 1211 mb WMA version RAR size: 1134 mb Rating: 4.5 Votes: 364 Other Formats: MMF MOD FLAC AA MPC MP1 DTS Tracklist A1 (Your Love Has Lifted Me) Higher And Higher 3:55 A2 The Way You Do The Things You Do 3:35 A3 We're All Alone 3:38 A4 I Feel The Burden (Being Lifted Off My Shoulders) 2:46 A5 I Don't Want To Talk About It 3:36 B1 Words 3:25 B2 Good Times 2:42 B3 Who's To Bless And Who's To Blame 3:37 B4 Southern Lady 3:30 B5 The Hungry Years 4:18 Companies, etc. Manufactured By – A&M Records Of Canada Limited Distributed By – A&M Records Of Canada Limited Credits Backing Vocals – Booker T. Jones, Clydie King, Daniel Timms*, Kim Carnes, Sherlie Matthews, Venetta Fields Bass – Lee Sklar* Drums – Mike Baird, Sammy Creason Guitar – Dean Parks, Jerry McGee Harp – Gayle Levant Organ, Synthesizer – Booker T. Jones Piano, Keyboards, Synthesizer – Mike Utley* Producer – David Anderle Steel Guitar – Al Perkins Tambourine, Congas – Bobbye Hall Notes Released with a cardboard lyrics-sleeve Other versions Category Artist Title (Format) Label Category Country Year SP-4616, SP Rita Anytime... Anywhere A&M Records, SP-4616, SP US 1977 4616 Coolidge (LP, Album) A&M Records 4616 Rita Anytime... Anywhere SLAM 64616 A&M Records SLAM 64616 Italy 1977 Coolidge (LP, Album) Rita Anytime... Anywhere SP-4616 A&M Records SP-4616 US 1977 Coolidge (LP, Album, Mon) SP-4616, SP Rita Anytime... Anywhere A&M Records, SP-4616, SP Barbados 1977 4970 Coolidge (LP, Album) A&M Records 4970 Rita Anytime... Anywhere South AMLH 64616 A&M Records AMLH 64616 1977 Coolidge (LP, Album) Africa Related Music albums to Anytime...Anywhere by Rita Coolidge Rita Coolidge - (Your Love Has Lifted Me) Higher And Higher Booker T. Jones - The Best Of You Kris Kristofferson - Who's To Bless And Who's To Blame Rita Coolidge - Anytime... Anywhere Kris Kristofferson - Who's To Bless... ...And Who's To Blame Rita Coolidge - Satisfied Rita Coolidge - The Lady's Not For Sale Booker T. & Priscilla - Booker T. & Priscilla Rita Coolidge - It's Only Love Rita Coolidge - Love Me Again.

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B I O G R a P H Y
B I O G R A P H Y Rita's credentials are the stuff of legend. After earning a degree in art at Florida State University, the Tennessee native decided to give music a shot before settling into a career as an art teacher. She moved to Memphis and was soon singing jingles, demos and background vocals for a number of area bands. Among them was a husband and wife duo, Delaney & Bonnie. When the pair signed their record deal, Rita suddenly found herself on big-time pop music's leading edge. Her reputation as an A-list backup singer spread quickly. Joe Cocker enlisted her in that role and as a featured soloist on his Mad Dogs and Englishmen tour. (Rita performed a song she'd co-written, “Superstar,” which would later be a huge hit for The Carpenters.) Work with other rock royalty followed, including tours and recordings with Eric Clapton, Jimi Hendrix, Bob Dylan, Leon Russell and Stephen Stills. In 1971, A&M Records moguls Herb Alpert and Jerry Moss signed her to the label, and one of the most enduring solo careers in all of music was underway. Rita released more than a dozen albums in the years to follow, including 1978's multi-platinum Anytime... Anywhere. Several of her singles would become classics; “We're All Alone,” “Higher And Higher” and “The Way You Do The Things You Do” all qualify as “career” songs. She’s performed with high-profile pals like George Harrison, Roger Waters, Robbie Robertson and Jimmy Buffett. In 1973, Rita married singer, songwriter and actor Kris Kristofferson.
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With Honors at Ceremony Mrs
M'lark College hP VOL. XXXVH NO. 5 ANTHER®CLARK COLLEGE FEBRUARY 1974 Henderson 'Roasted' With Honors At Ceremony Mrs. Vivian Henderson, individual,” Brantley said. gretted it and sometimes the president’s wife, was “He is a man deeply and I’ve been thankful.” present for the ceremony profoundly interested in the There was a surprise vi also. individual, ’ ’ Brantley said. sit by Henderson’s eldest Dr. Albert Manley, presi brother, J. J. Henderson, “1 thought the program dent of Spelman College, was who reminisced over some was nice and very well also on hand for the cere of their past experiences. done,” Mrs. Henderson said. monies. There was also a letter of “He looks like the big tough “Dr. Henderson has al congratulations from Mayor guy, but he’s really a sof ways excelled in what he Maynard Jackson presented ty,” she said speaking on tried to do,” Manly said. by the mayor’s press secre Henderson’s tears at theend Manly was Dean of Aca tary, Pearl Lomax. of the p^ogr0*’* demic Affairs at North Caro After the “roast,” Hen “I tnink for the first time lina College when Hender derson was presented with the student body is aware son was a student there. a gift and two plaques. of the many qualities of the “Vivian was not the ea Henderson was overcome president and there was a siest student to get along by tears as he stood be sincere exchange of appre with at North Carolina Col fore the audience to give him ciation between the student lege,” Manly said.
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Still on the Road Session Pages: 1978 US Tour September
STILL ON THE ROAD 1978 WORLD TOUR – US SEPTEMBER 15 Augusta, Maine Civic Center 16 Portland, Maine Cumberland Civic Center 17 New Haven, Connecticut Veterans Memorial Coliseum 19 Montreal, Quebec, Canada Forum de Montreal 20 Boston, Massachusetts Boston Gardens 22 Syracuse, New York Onondaga County War Memorial Auditorium 23 Rochester, New York War Memorial Auditorium 24 Binghamton, New York Broome County Veterans Memorial Arena 26 Springfield, Massachusetts Civic Center 27 Uniondale, New York Nassau County Coliseum 29 New York City, New York Madison Square Garden 30 New York City, New York Madison Square Garden Still On The Road: 1978 World Tour: US September 4290 Senator Motel Augusta, Maine 15 September 1978 Interview by Matt Damsker Notes • Broadcast by an unidentified American radio station October 1978. • Parts published in Circus Weekly 19 December 1978. Reference. The Fiddler Now Upspoke, Volume 2, Desolation Row Promotions, page 459-471. Mono radio broadcast, 31 minutes. Session info updated 31 March 2003. Still On The Road: 1978 World Tour: US September 4300 Civic Center Augusta, Maine 15 September 1978 1. My Back Pages 2. I'm Ready (Willie Dixon) 3. Is Your Love In Vain? 4. Shelter From The Storm 5. Love Minus Zero/No Limit 6. Tangled Up In Blue 7. Ballad Of A Thin Man 8. Maggie's Farm 9. I Don't Believe You 10. Like A Rolling Stone 11. I Shall Be Released 12. Going, Going, Gone 13. Rainy Day Women # 12 & 35 14. True Love Tends To Forget 15. It Ain't Me, Babe 16. Am I Your Stepchild? 17.
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Robert GADEN: Slim GAILLARD
This discography is automatically generated by The JazzOmat Database System written by Thomas Wagner For private use only! ------------------------------------------ Robert GADEN: Robert Gaden -v,ldr; H.O. McFarlane, Karl Emmerling, Karl Nierenz -tp; Eduard Krause, Paul Hartmann -tb; Kurt Arlt, Joe Alex, Wolf Gradies -ts,as,bs; Hans Becker, Alex Beregowsky, Adalbert Luczkowski -v; Horst Kudritzki -p; Harold M. Kirchstein -g; Karl Grassnick -tu,b; Waldi Luczkowski - d; recorded September 1933 in Berlin 65485 ORIENT EXPRESS 2.47 EOD1717-2 Elec EG2859 Robert Gaden und sein Orchester; recorded September 16, 1933 in Berlin 108044 ORIENTEXPRESS 2.45 OD1717-2 --- Robert Gaden mit seinem Orchester; recorded December 1936 in Berlin 105298 MEIN ENTZÜCKENDES FRÄULEIN 2.21 ORA 1653-1 HMV EG3821 Robert Gaden mit seinem Orchester; recorded October 1938 in Berlin 106900 ICH HAB DAS GLÜCK GESEHEN 2.12 ORA3296-2 Elec EG6519 Robert Gaden mit seinem Orchester; recorded November 1938 in Berlin 106902 SIGNORINA 2.40 ORA3571-2 Elec EG6567 106962 SPANISCHER ZIGEUNERTANZ 2.45 ORA 3370-1 --- Robert Gaden mit seinem Orchester; Refraingesang: Rudi Schuricke; recorded September 1939 in Berlin 106907 TAUSEND SCHÖNE MÄRCHEN 2.56 ORA4169-1 Elec EG7098 ------------------------------------------ Slim GAILLARD: "Swing Street" Slim Gaillard -g,vib,vo; Slam Stewart -b; Sam Allen -p; Pompey 'Guts' Dobson -d; recorded February 17, 1938 in New York 9079 FLAT FOOT FLOOGIE 2.51 22318-4 Voc 4021 Some sources say that Lionel Hampton plays vibraphone. 98874 CHINATOWN MY CHINATOWN
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Bob Dylan Performs “It's Alright, Ma (I'm Only Bleeding),” 1964–2009
Volume 19, Number 4, December 2013 Copyright © 2013 Society for Music Theory A Foreign Sound to Your Ear: Bob Dylan Performs “It’s Alright, Ma (I’m Only Bleeding),” 1964–2009 * Steven Rings NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.13.19.4/mto.13.19.4.rings.php KEYWORDS: Bob Dylan, performance, analysis, genre, improvisation, voice, schema, code ABSTRACT: This article presents a “longitudinal” study of Bob Dylan’s performances of the song “It’s Alright, Ma (I’m Only Bleeding)” over a 45-year period, from 1964 until 2009. The song makes for a vivid case study in Dylanesque reinvention: over nearly 800 performances, Dylan has played it solo and with a band (acoustic and electric); in five different keys; in diverse meters and tempos; and in arrangements that index a dizzying array of genres (folk, blues, country, rockabilly, soul, arena rock, etc.). This is to say nothing of the countless performative inflections in each evening’s rendering, especially in Dylan’s singing, which varies widely as regards phrasing, rhythm, pitch, articulation, and timbre. How can music theorists engage analytically with such a moving target, and what insights into Dylan’s music and its meanings might such a study reveal? The present article proposes one set of answers to these questions. First, by deploying a range of analytical techniques—from spectrographic analysis to schema theory—it demonstrates that the analytical challenges raised by Dylan’s performances are not as insurmountable as they might at first appear, especially when approached with a strategic and flexible methodological pluralism.
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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.
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Eric Clapton at His Best Mp3, Flac, Wma
Eric Clapton At His Best mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Blues Album: At His Best Country: UK Released: 1973 Style: Blues Rock, Electric Blues, Soft Rock MP3 version RAR size: 1425 mb FLAC version RAR size: 1107 mb WMA version RAR size: 1762 mb Rating: 4.1 Votes: 828 Other Formats: MPC TTA VQF MIDI RA MP2 TTA Tracklist Hide Credits Bottle Of Red Wine Bass – Carl RadleDrums – Jim GordonGuitar – Stephen StillsOrgan, Vocals – Bobby A1 WhitlockPiano – John Simon, Leon RussellSaxophone – Bobby KeysTrumpet – Jim PriceVocals – J. I. Allison*, Rita Coolidge, Sonny CurtisVocals, Guitar [Rhythm] – Delaney BramlettVocals, Written-By – Bonnie Bramlett, Eric Clapton Anyday A2 Drums, Percussion, Piano – Jim GordonGuitar – Duane AllmanWritten-By, Acoustic Guitar, Organ, Piano, Vocals – Bobby WhitlockWritten-By, Lead Vocals – Eric Clapton I Looked Away A3 Drums, Percussion, Piano – Jim GordonGuitar – Duane AllmanWritten-By, Acoustic Guitar, Organ, Piano, Vocals – Bobby WhitlockWritten-By, Lead Vocals – Eric Clapton Let It Rain Bass – Carl RadleDrums – Jim GordonGuitar – Stephen StillsOrgan, Vocals – Bobby A4 WhitlockPiano – John Simon, Leon RussellSaxophone – Bobby KeysTrumpet – Jim PriceVocals – J. I. Allison*, Rita Coolidge, Sonny CurtisVocals, Guitar [Rhythm] – Delaney BramlettVocals, Written-By – Bonnie Bramlett, Eric Clapton Lonesome And A Long Way From Home Bass – Carl RadleDrums – Jim GordonGuitar – Stephen StillsOrgan, Vocals – Bobby A5 WhitlockPiano – John SimonSaxophone – Bobby KeysTrumpet – Jim PriceVocals – Eric Clapton,
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Billboard 1976-05-22
08120 NEWSPAPER SOUTH *J09 1331 JUL79 52 +.. 312 318270141214 SOUTHERN MUSIC PUB CO BB 6922 HOLLYWOOD BLVD LCS ANGELES CA 90028 The International Music -Record -Tape Newsweekly May 22, 1976 $1.50 A Billboard Publication v N.Y. Looms As Cut -Rate Mecca; BACK ON ANNUAL BASIS Shelf & Special Prices Plunge Amsterdam Picked By IS HOROWITZ, JIM MELANSON & STEPHEN TRAIMAN holding He characterizes them as IMIC-7 chain has been conditions. For 1977 NEW YORK -Records aren't yet Korvette ® By BOB KIRSCH being given away gratis here. but sales on huge segments of their stock "not too different" from what the thrusts and counter- thrusts by some at $3.64 for $6.98 product. chain has done in the past, but LOS ANGELES -Billboard's In- IMIC that saw a greater injection fig- of the largest area dealers continue Of perhaps even greater signifi- agrees that the extent of the $3.64 ternational Music Industry Confer- than ever before of non -industry to force prices down. cance is the drop by local Korvettes (Continued on page 16) ence (IMIC) returns to an annual ures into the panels and discussions, For two weeks running the giant stores of non -sale shelf prices to a basis next year following several figures from such industries as new standard of $4.99, a level being years of biannual conferences, with (Continued on page 12) matched by some of the Sam Goody Joyce Out With IMIC -7 set for Amsterdam, Hol- TV Time Tight stores and by the string of Alex- land. May 9 -12, 1977.
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Award-Winning Children's Author, Illustrator and Educator
Award-winning Children's Author, Illustrator and Educator Jessica: Timothy, thanks so much for doing this interview. It's great to have you here. :) Timothy: My pleasure Jessica. Jessica: What inspired you to get into art and writing? At what age did you start drawing/painting? And what was the first story you ever wrote? Timothy: I wasn't inspired per se by any particular individual in my childhood to be an artist; but I got an awful lot of praise from my Aunt Anne for my artistic sensibility. So, I just stuck with it. I guess? I started drawing at about age three. My first stories were pretty much "samplings" of classic tales that I simply re-illustrated. Jessica: What's your process for creating a book? And where do you get the inspiration for your characters? Timothy: It's pretty much a didactic approach. Story board and then fill the blanks while editing and revising the story line. A great deal of my recent work has been greatly enhanced through my creative soul mate Kristin Walsh. My inspiration for characters always comes from life and the people within it. Jessica: You're the founder and president of T.I.M.M.E. (Tolerance in Multi Media Education), which was founded in 2000. It promotes peace, tolerance and acceptance for common humanity. Within the company you created We Are All The Same Inside - books, hands-on media and line of products to help learners embrace our common humanity while exploring the various aspects of diversity (this is the mission from website).
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ALBUMS BARRY WHITE, "WHAT AM I GONNA DO with BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50S YOU" (Prod
DEDICATED TO THE NEEDS OF THE MUSIC RECORD INCUSTRY SLEEPERS ALBUMS BARRY WHITE, "WHAT AM I GONNA DO WITH BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50s YOU" (prod. by Barry White/Soul TO ME" (prod.by Baker,Harris, and'60schestnutsrevved up with Unitd. & Barry WhiteProd.)(Sa- Young/WMOT Prod. & BobbyEli) '70s savvy!Fast paced pleasers sat- Vette/January, BMI). In advance of (WMOT/Friday'sChild,BMI).The urate the Lennon/Spector produced set, his eagerly awaited fourth album, "Sideshow"men choosean up - which beats with fun fromstartto the White Knight of sensual soul tempo mood from their "Magic of finish. The entire album's boss, with the deliversatasteinsupersingles theBlue" album forarighteous niftiest nuggets being the Chuck Berry - fashion.He'sdoingmoregreat change of pace. Every ounce of their authored "You Can't Catch Me," Lee thingsinthe wake of currenthit bounce is weighted to provide them Dorsey's "Ya Ya" hit and "Be-Bop-A- string. 20th Century 2177. top pop and soul action. Atco 71::14. Lula." Apple SK -3419 (Capitol) (5.98). DIANA ROSS, "SORRY DOESN'T AILWAYS MAKE TAMIKO JONES, "TOUCH ME BABY (REACHING RETURN TO FOREVER FEATURING CHICK 1116111113FOICER IT RIGHT" (prod. by Michael Masser) OUT FOR YOUR LOVE)" (prod. by COREA, "NO MYSTERY." No whodunnits (Jobete,ASCAP;StoneDiamond, TamikoJones) (Bushka, ASCAP). here!This fabulous four man troupe BMI). Lyrical changes on the "Love Super song from JohnnyBristol's further establishes their barrier -break- Story" philosophy,country -tinged debut album helps the Jones gal ingcapabilitiesby transcending the with Masser-Holdridge arrange- to prove her solo power in an un- limitations of categorical classification ments, give Diana her first product deniably hit fashion.
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Rita Coolidge Wants To
“I’m still growing as an artist,” says Coolidge (at her home in Fallbrook, Calif., on March 17). Next month she’s set to record her RITA 21st solo album. COOLIDGE Rock &Roll Survivor THE ’70S SONGBIRD LOOKS BACK AT THE MUSIC SHE MADE, THE FAMOUS MEN SHE DATED AND HER VOLATILE 6-YEAR MARRIAGE TO KRIS KRISTOFFERSON ita Coolidge wants to with the likes of Tina Turner (who once Romantic drama with Crosby, make one thing perfectly took off her wig to show Rita a scar Stills & Nash clear. “I did not break up left by husband Ike’s beatings) and During a 1970 Hollywood studio ses- Crosby, Stills & Nash,” playing muse to some of rock’s greatest sion for Stephen Stills, Coolidge met she tells People’s Johnny talents. In Delta Lady, her new memoir Graham Nash, who invited her to one of RDodd, laughing over old claims that (excerpted below), Coolidge, 70, looks their concerts. she was responsible for the iconic back at her life in and out of Graham was staying at folk-rock group’s split. “I was in the the recording studio, in- Stephen’s house, but when I HAIR & MAKEUP: WENDY DOYLE/ZENOBIA middle of it all, kind of like a referee cluding her marriage to and called, Stephen answered and in a boxing ring.” The songwriter and divorce from Kris Kristoffer- said, “Graham made other ar- Grammy-winning singer best known son. “I don’t know why I’ve rangements. I’ll pick you up.” for “Higher and Higher” was in fact had a career that spanned After the show, Graham was smack dab in the middle of the entire 50 years,” she says in her soft very cool to me—and since 1970s music scene, performing with Tennessee drawl.
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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.
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