King Biscuit Flower Hour Presents Flair
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Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in Partial Fulfillment Of
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Dana DeVlieger, B.A., M.A. Graduate Program in Music The Ohio State University 2016 Thesis Committee: Graeme M. Boone, Advisor Johanna Devaney Anna Gawboy Copyright by Dana Lauren DeVlieger 2016 Abstract “Whiskey in the Jar” is a traditional Irish song that is performed by musicians from many different musical genres. However, because there are influential recordings of the song performed in different styles, from folk to punk to metal, one begins to wonder what the role of the song’s Irish heritage is and whether or not it retains a sense of Irish identity in different iterations. The current project examines a corpus of 398 recordings of “Whiskey in the Jar” by artists from all over the world. By analyzing acoustic markers of Irishness, for example an Irish accent, as well as markers of other musical traditions, this study aims explores the different ways that the song has been performed and discusses the possible presence of an “Irish feel” on recordings that do not sound overtly Irish. ii Dedication Dedicated to my grandfather, Edward Blake, for instilling in our family a love of Irish music and a pride in our heritage iii Acknowledgments I would like to thank my advisor, Graeme Boone, for showing great and enthusiasm for this project and for offering advice and support throughout the process. I would also like to thank Johanna Devaney and Anna Gawboy for their valuable insight and ideas for future directions and ways to improve. -
What's It Like to Be Black and Irish?
“What’s it like to be black and Irish?” “Like a pint of Guinness.” The above quote is taken from an interview with Phil Lynott, the charismatic lead singer of the Celtic rock band Thin Lizzy, on Gay Byrne’s ‘The Late Late Show’. Lynott’s often playful and bold responses to such questions about his identity served to mask his overwhelming feelings of insecurity and ambivalent sense of belonging. As an illegitimate black child brought up in the 1950s in a strict Catholic family in Crumlin, a working-class district of Dublin, Lynott was seen to have a “paradoxical personality” (Bridgeman, qtd. in Thomson 4): his upbringing imbued him “with an acute sense of national and gender identity” (Smyth 39), yet his skin color and illegitimacy made him the target of racial and social abuse in a predominantly white and conservative Ireland. For Lynott, becoming a rockstar offered an opportunity to reinvent himself and be whoever he wanted to be. While he played up to the rock and roll lifestyle in which he was embedded, Lynott is often considered to have been a man trapped inside a caricature (Thomson 301). Geldof (qtd. in Putterford 182) believes that this rocker persona was Lynott’s ultimate downfall and led to his untimely death at just 36 years of age in 1986. For all his swagger and bravado, behind the mask, Lynott was a troubled, young man searching for a place to belong. While many books have been written about the life of Phil Lynott (e.g. Putterford; Lynott; Thomson), few have drawn attention to the notion of identity and the way in which music provided Lynott with an outlet to explore his self. -
Uriah Heep – 70S Music for Today
8/24/2017 Uriah Heep - 70s Music For Today The Latest News NEWS ENTERTAINMENT HEALTH SCIENCE POLITICS FOOD TECH Search Home / Entertainment / Uriah Heep – 70s Music For Today Uriah Heep – 70s Music For Today RECENT POSTS ENTERTAINMENT FEATURED NEWS 7 Steps to Writing an Awesome By Alexander Baron Business School Essay Bacteria Powered Solar Cell Makes Clean Energy Zika Virus Associated With New Type Of Brain Disease Pertussis (Whooping Cough) Immunisation Prole Raised Using Mice To Predict Zika Infection In People 2 0 1 0 1 0 0 0 6 2 0 SHARES a d y n f h k m The greatest music ever written, performed, improvised and recorded can be dated from 1963 – the breakthrough of The Beatles – until about the mid-1990s. Three hundred years from now, if Man still exists, our descendants will look back on the stars of that Golden Age with the same reverence reserved for Beethoven and Mozart today. https://www.infotextmanuscripts.org/tln/Uriah%20Heep%20-%2070s%20Music%20For%20Today-.html 1/3 8/24/2017 Uriah Heep - 70s Music For Today Uriah Heep were never in the same class as Barclay James Harvest, Deep Purple, Pink Floyd, UFO, or others in that genre, but nobody can fault their work ethic. From their formation in 1969 until 1980 they released 13 studio albums, the rst in June 1970. And they are still performing today. The band’s origins actually date back to 1967 when teenage guitarist Mick Box formed The Stalkers. Box is the only founder member in the current line-up. -
Uriah Heep(Gb)
29. März bis 6. April 2014 Eine Veranstaltung der HEADLINER & HIGHLIGHT & ABSCHLUSSKONZERT URIAH HEEP (GB) ROCKLEGENDS IN CONCERT Sonntag, 6. April 2014 Kulturfabrik (Stieberstraße 7, 91154 Roth) 20 Uhr Stehplatz VVK 39,60 €/AK 42 € Sitzplätze ausverkauft (KEIN ZAC-Rabatt; Festivalpass: Stehplatz) Die Musikkritik ließ anfangs kein gutes Haar an ihnen, die Fans – und davon gibt es mit dreißig Millionen verkaufter Alben en masse – juckt das bis heute recht wenig. „Heep Heep Hurra“. Uriah Heep haben mit „Easy Living“ oder „Free me“ Rockklassiker geschrieben, „Lady in Black“ ist die Rockballade schlechthin. Sie waren in 52 Ländern, haben zig Besetzungswechsel überstanden und sind live immer noch eine Nummer. Ihr Geheimnis: Enthusiasmus, Spielfreude, Durchhaltevermögen und Können. Als Gitarrist Mick Box Ende der 1960er mit Sänger David Byron durch die englischen Clubs tingelte, lag die internationale Popularität noch in weiter Ferne. Erst als Ken Hensley die Keyboards übernahm und man sich mit Uriah Heep nach dem finsteren Betrüger aus Charles Dickens „David Copperfield“ benannte, standen die Zeichen auf Erfolg. Mit dem Debüt „Very ´Eavy, Very ´Umble“ zeigte man sofort, wo es in Zukunft lang gehen sollte: harter Gitarrenrock, voller Orgelsound und mehrstimmiger Gesang. In Deutschland war man vollkommen begeistert, hier landeten Uriah Heep mit „Gypsy“ ihren ersten großen Hit. 1971 erschien „Salisbury“, auf der die Ken Hensleys-Komposition „Lady in Black“ sofort einschlug. Jeder wollte die Heeps live sehen – eine Band die gerade mal ein Jahr existierte. Europa und die USA waren erobert, „Look at Yourself“ brachte goldene Platten und eine Japantour. 1972 fanden sie ihre Traumbesetzung: Bassist Newton und Drummer Clark machten Platz für Gary Thain und Lee Kerslake . -
Guitar Hero® Metallica® Thrashes Its Way Into the Guitar Hero® Music Library
Guitar Hero® Metallica® Thrashes its Way Into the Guitar Hero® Music Library --For One Week Only, Buy Guitar Hero(R): Warriors of Rock and Import Your Guitar Hero(R) Metallica(R) Tracks for Free --Select Tracks From Guitar Hero(R) World Tour, Guitar Hero(R) Smash Hits, Guitar Hero (R) 5 and Band Hero(R) Also Importable Into This Fall's Guitar Hero: Warriors of Rock SANTA MONICA, Calif., Sept 14, 2010 /PRNewswire via COMTEX News Network/ -- Legendary musical icons and heavy metal pioneers, Metallica, are returning for an encore this fall by bringing their skill, intensity and passion to the Guitar Hero(R) music library. In conjunction with the launch of Guitar Hero(R): Warriors of Rock, fans who own Guitar Hero(R) Metallica(R) will be able to import 39 of the game's on-disc tracks directly into their Guitar Hero music library beginning September 28. Additionally, head-banging, guitar-shredding rockers who buy Guitar Hero: Warriors of Rock between September 28 and October 5 will be able to import these tracks from their copy of Guitar Hero Metallica for free*. The disc import will feature the following tracks: ● Bob Seger & the Silver Bullet Band - "Turn The Page (Live)" ● Diamond Head - "Am I Evil?" ● Kyuss - "Demon Cleaner" ● Lynyrd Skynyrd - "Tuesday's Gone" ● Machine Head - "Beautiful Mourning" ● Mastodon - "Blood & Thunder" ● Mercyful Fate - "Evil" ● Metallica - "Battery" ● Metallica - "Creeping Death" ● Metallica - "Disposable Heroes" ● Metallica - "Dyers Eve" ● Metallica - "Enter Sandman" ● Metallica - "Fade To Black" ● Metallica -
THE GARY MOORE DISCOGRAPHY (The GM Bible)
THE GARY MOORE DISCOGRAPHY (The GM Bible) THE COMPLETE RECORDING SESSIONS 1969 - 1994 Compiled by DDGMS 1995 1 IDEX ABOUT GARY MOORE’s CAREER Page 4 ABOUT THE BOOK Page 8 THE GARY MOORE BAND INDEX Page 10 GARY MOORE IN THE CHARTS Page 20 THE COMPLETE RECORDING SESSIONS - THE BEGINNING Page 23 1969 Page 27 1970 Page 29 1971 Page 33 1973 Page 35 1974 Page 37 1975 Page 41 1976 Page 43 1977 Page 45 1978 Page 49 1979 Page 60 1980 Page 70 1981 Page 74 1982 Page 79 1983 Page 85 1984 Page 97 1985 Page 107 1986 Page 118 1987 Page 125 1988 Page 138 1989 Page 141 1990 Page 152 1991 Page 168 1992 Page 172 1993 Page 182 1994 Page 185 1995 Page 189 THE RECORDS Page 192 1969 Page 193 1970 Page 194 1971 Page 196 1973 Page 197 1974 Page 198 1975 Page 199 1976 Page 200 1977 Page 201 1978 Page 202 1979 Page 205 1980 Page 209 1981 Page 211 1982 Page 214 1983 Page 216 1984 Page 221 1985 Page 226 2 1986 Page 231 1987 Page 234 1988 Page 242 1989 Page 245 1990 Page 250 1991 Page 257 1992 Page 261 1993 Page 272 1994 Page 278 1995 Page 284 INDEX OF SONGS Page 287 INDEX OF TOUR DATES Page 336 INDEX OF MUSICIANS Page 357 INDEX TO DISCOGRAPHY – Record “types” in alfabethically order Page 370 3 ABOUT GARY MOORE’s CAREER Full name: Robert William Gary Moore. Born: April 4, 1952 in Belfast, Northern Ireland and sadly died Feb. -
THE PERFORMATIVE BYRON: THEATRICAL PRODUCTIONS in VICTORIAN ENGLAND by LIRIM NEZIROSKI (Under the Direction of Nelson Hilton)
THE PERFORMATIVE BYRON: THEATRICAL PRODUCTIONS IN VICTORIAN ENGLAND by LIRIM NEZIROSKI (Under the Direction of Nelson Hilton) ABSTRACT This dissertation presents a study of Lord Byron’s historical dramas (Marino Faliero, The Two Foscari, Sardanapalus, and Werner) alongside the performative aesthetics of Don Juan, and it uses performance theory as a hermeneutic for examining this relationship. It provides a literary analysis of some neglected works and important issues in Byron’s writings, it explores the legacy of Byron in the nineteenth-century theater, and it tests the limits of current scholarship on Romantic drama. The dissertation brings together a large amount of scholarship and provides a new perspective on Byron, Romantic drama, and the Victorian theater. INDEX WORDS: Lord Byron, Romanticism, Romantic drama, nineteenth-century theater, Don Juan, Marino Faliero, Sardanapalus, The Two Foscari, Werner, Childe Harold’s Pilgrimage, Beppo, Manfred, performance, Percy Shelley, William Charles Macready, Helen Faucit, Charles Kean, Samuel Phelps. THE PERFORMATIVE BYRON: THEATRICAL PRODUCTIONS IN VICTORIAN ENGLAND by LIRIM NEZIROSKI BA, Augustana College, 2002 MA, University of Chicago, 2003 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2011 © 2011 Lirim Neziroski All Rights Reserved THE PERFORMATIVE BYRON: THEATRICAL PRODUCTIONS IN VICTORIAN ENGLAND by LIRIM NEZIROSKI Major Professor: Nelson Hilton Committee: Roxanne Eberle Richard Menke Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2011 ACKNOWLEDGEMENTS I would like to thank some of the many people that have provided academic, financial, and moral support during my time as a graduate student. -
Midge Ure & Band Electronica
Pressemitteilung vom 31.08.2020 Midge Ure & Band Electronica Live in Concert 2021 – brandneue Show! MIDGE URE & BAND ELECTRONICA Live in Concert 2021 mit NEUER Show! Auf Grund der Corona- Pandemie verschoben... ...Aber wie heißt es so schön aufgeschoben ist nicht aufgehoben. Das Konzert in Paderborn in der Paderhalle, welches am 16.12.2020 stattgefunden hätte wird am 24.11.2021 nachgeholt. Alle bereits gekauften Tickets behalten ihre Gültigkeit... Der Umbruch zu Beginn der 1980er Jahre war entscheidend für die Musikszene. Während in verschiedenen Bereichen wie Gesellschaft, Politik, Mode und Kultur ein riesiger Umschwung stattfand, kam auch frischer Wind in die Musikszene. Als Synthesizer anfingen, die neuen Lieder zu dominieren und Musikvideos den Popcharts ein ganz neues Aussehen verliehen, war besonders einer maßgeblich am Wandel beteiligt: Midge Ure. Der Brite setze mit der Single „Fade To Grey“ von der Band Visage aus gleichnamigen Debütalbum und „Vienna“ von der Band Ultravox, ebenfalls aus gleichnamigen Album, neue Maßstäbe. Als Alleskönner hat er als Songwriter und Produzent an diesen und an unzähligen weiteren Hits mitgewirkt. Midge Ure`s Talent für rockige Popmusik gepaart mit seinem elektronischen Herz brachten futuristische neue Klänge auf den Musikmarkt der ganzen Welt. "Der Herbst 1979 war ein zentraler Punkt in meinem beruflichen Werdegang", erklärt Midge Ure. „In den letzten zwei Jahren bin ich von der Pop-Band (Slik) zur Post-Punk-Band (The Rich Kids) zu einem Bestandteil für Thin Lizzy als Gitarrist gewachsen. Während des Herbstes bis zum Winter 1979, als ich mit Billy Currie am Visage-Projekt arbeitete, wurde ich zu Ultravox eingeladen. Die Arbeit, die wir in diesem Winter am Vienna Album gemacht haben, war ein aufregender Kreativitätsschub, wie ich ihn noch nie erlebt hatte.“ Auch der Uhrenhersteller „Swatch“ war von der Musik von Midge Ure begeistert und nahm „Breathe“ als Soundtrack eines Swatch-TV-Werbespots, der Song erreichte damit einen weltweiten Kultstatus und verhalf der Firma somit zu ihrer erfolgreichsten Werbekampagne überhaupt. -
Lemmy Kilmister Was Born in Stoke-On-Trent
Lemmy Kilmister was born in Stoke-on-Trent. Having been a member of the Rocking Vicars, Opal Butterflies and Hawkwind, Lemmy formed his own band, Motörhead. The band recently celebrated their twenty-fifth anniversary in the business. Lemmy currently lives in Los Angeles, just a short walk away from the Rainbow, the oldest rock ’n’ roll bar in Hollywood. Since 1987, Janiss Garza has been writing about very loud rock and alternative music. From 1989 to1996 she was senior editor at RIP, at the time the World’s premier hard music magazine. She has also written for Los Angeles Times, Entertainment Weekly, and New York Times, Los Angeles. ‘From heaving burning caravans into lakes at 1970s Finnish festivals to passing out in Stafford after three consecutive blowjobs, the Motörhead man proves a mean raconteur as he gabbles through his addled heavy metal career résumé’ Guardian ‘As a rock autobiography, White Line Fever is a keeper’ Big Issue ‘White Line Fever really is the ultimate rock & roll autobiography . Turn it up to 11 and read on!’ Skin Deep Magazine First published in Great Britain by Simon & Schuster UK Ltd, 2002 This edition first published by Pocket, 2003 An imprint of Simon & Schuster UK Ltd A Viacom Company Copyright © Ian Kilmister and Janiss Garza, 2002 This book is copyright under the Berne Convention. No reproduction without permission. All rights reserved. The right of Ian Kilmister to be identified as author of this work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act, 1988. Simon & Schuster UK Ltd Africa House 64-78 Kingsway London WC2B 6AH www.simonsays.co.uk Simon & Schuster Australia Sydney A CIP catalogue record for this book is available from British Library Paperback ISBN 0-671-03331-X eBook ISBN 978-1-47111-271-3 Typeset by M Rules Printed and bound in Great Britain by Cox & W yman Ltd, Reading, Berks PICTURE CREDITS The publishers have used their best endeavours to contact all copyright holders. -
TOP 100 British Rock Albums
TOP 100 British Rock Albums 1 Led Zeppelin Led Zeppelin 4 1971 2 Who Who's next 1971 3 Pink Floyd Dark side of the moon 1973 4 Sex Pistols Never mind the bollocks, here's the Sex pistols 1977 5 David Bowie The rise and fall of Ziggy Stardust and the spiders from Mars 1972 6 Beatles Abbey road 1969 7 Led Zeppelin Physical graffiti 1975 8 Led Zeppelin Led zeppelin 2 1969 9 Rolling Stones Exile on Main street 1972 10 Free Fire and water 1970 11 Black Sabbath Black sabbath 1970 12 Pink Floyd The wall 1979 13 Deep Purple In rock 1970 14 Pink Floyd Wish you were here 1975 15 Iron Maiden The number of the beast 1982 16 Def Leppard Hysteria 1987 17 Queen A night at the opera 1975 18 Rainbow Rising 1976 19 Clash The Clash 1977 20 AC/DC Highway to hell 1979 21 Rolling Stones Let it bleed 1969 22 Beatles Sgt. Pepper's Lonely hearts club band 1967 23 Thin Lizzy Jailbreak 1976 24 AC/DC Back in black 1980 25 Motörhead Ace of spades 1980 26 Deep Purple Machine head 1972 27 Deep Purple Burn 1974 28 Queen Sheer heart attack 1974 29 Rolling Stones Beggars banquet 1968 30 Black Sabbath Black sabbath, vol. 4 1972 31 Led Zeppelin Led zeppelin 3 1970 32 David Bowie Hunky dory 1971 33 Beatles The Beatles (= the white album) 1968 34 Black Sabbath Heaven and hell 1980 35 Beatles Revolver 1966 36 Rolling Stones Sticky fingers 1971 37 T. Rex Electric warrior 1971 38 Motörhead Overkill 1979 39 Judas Priest British steel 1980 40 Cream Disraeli gears 1967 41 Fleetwood Mac Rumours 1977 42 Black Sabbath Masters of reality 1971 43 Manic Street Preachers The holy bible -
Ireland Into the Mystic: the Poetic Spirit and Cultural Content of Irish Rock
IRELAND INTO THE MYSTIC: THE POETIC SPIRIT AND CULTURAL CONTENT OF IRISH ROCK MUSIC, 1970-2020 ELENA CANIDO MUIÑO Doctoral Thesis / 2020 Director: David Clark Mitchell PROGRAMA DE DOCTORADO EN ESTUDIOS INGLESES AVANZADOS: LENGUA, LITERATURA Y CULTURA Ireland into the Mystic: The Poetic Spirit and Cultural Content of Irish Rock Music, 1970-2020 by Elena Canido Muiño, 2020. INDEX Abstract .......................................................................................................................... viii Resumen .......................................................................................................................... ix Resumo ............................................................................................................................. x 1. Introduction ............................................................................................................. 1 1.1.1. Methodology ................................................................................................................. 3 1.1.2. Thesis Structure ............................................................................................................. 5 2. Historical and Theoretical Introduction to Irish Rock ........................................ 9 2.1.1. Introduction ................................................................................................................... 9 2.1.2. The Origins of Rock ...................................................................................................... 9 2.1.3.