DOCSLIB.ORG

Cultural Exchange Announced with Coppin State

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Cultural Exchange Announced with Coppin State Page 6 The Retriever Cultural Exchange Announced With Coppin State The Drama Department an­ nounced last 1\ee~ a cultural exchange program "ith Coppin State C allege. On ~ l onday even­ ing. ~lay 6 at 8:00 the Coppin State College Choir" ill present a concert in the Lecture Hall at C\IBC'. The shty \Oice choir, under the direction of its founder, Henn . Freeman. is in its ti e of tht' SE"'e , • tenth. anni,ersary year. It has and "Sat.an.' appeared before educational, ch­ On Wednt• flay ic. and rei igious groups through­ two plays ,,nd t•lectcd frn m out the cit;) and state in ad ­ will be presl'ntt'd. TH!! ·~ dition to performing on radio, F.HTY IS U1 IJEM E'll, te•e,ision and recordings. For Tenne see \\ lllinms, I fir t the ~lay 6 concert. the group the list. This play w111 I "il' present an all acapella pro­ rected by K~n Bnudrl • THE gram \\hich \\ill include a group SAN DBOX, by Ed~'>ard lbf' , I of madrigals, early and contem­ directed by C,ene C<Jfmt•r porary sacred \\Orks, secular The Acting .md !JirectmgCl Col~ songs and Afro-American will present scl'nes frnm well­ spirituals. known plays 11nd actt,rs will pre­ The exchange includes the sent im provisations during the C\!BC Sage Players' per­ inte rmissions. formance of Bertolt Brecht's All pe rfor mances start at noon GALILEO at Coppin on Satur­ a nd adm ission is free. day e'ening, :'.tay 3 at 8:00 in the Thomas G. Pullen Gymnas­ ium. Art NEW DISPLAY Dance Concert Shows Critic's Corner Tuesday, the UMBC library opened a new set ol displays in 'Drama Of Motion ' the lobby. This dis play center flock Concert around the various student move­ by Bernard Cooper ments which are p res e n t1 Last night's concert, An Even­ Schaefer , and narrated by Cindy by Bernard Cooper sweeping the country. The dis­ ing of Modern Dance, presented J effrey. "Uncl e Sam Wants You" play is coordinated with ot by the UMBC Modern Dance was a topica l statement in dance, The music presented at Sun­ the evening. The guitarist's activities oo campus, which · • Group, proved to be an exciting a nd " In the Ghetto" made a day night's rock concert at the blindingly fast breaks gave the elude a panel discussion he event. The program of eight dan­ graceful n ow or the viol ent en­ Civic Center was enjoyable and music an excruciating, shrieking last Wednesday. This discuss! ces was well-balanced and dem­ er gy in a ghetto gang wa r. Both well diversified. Buddy Miles' intensity that drew the loudest featured Dr. Homer Schamp, M onstrated that the dance is indeed "Uncle Sam Wants You" and Express played a jazz-soul style applause of the night. As !look­ Andres Skuja, Dr. Larry Las the drama of motion. " In the Ghetto" conveyed the ur­ of music that seems to be heard ed around, I noticed that all er, Miss Michelle Blackman, Dr. Bill Rothstein and Dr. Fr "Motherhood," "Uncle Sam gency and immediacy of modern so much today from groups like that applause was coming from a day I ife. "Catastrophic Happen­ Blood Sweat and Tears and other white, middle- class dropout Pincus. II ants You,'' "In the Ghetto," The theme will be continued and "Catastrophic Happenings' ings" was a flashy, welcome groups that are trying to in­ audience. And they were applaud­ this week with a fiJ m program were the high points of the even­ break fr om the high seriousness corporate horns and the old jazz ing a white group playing blues, in the conference room in the ing. "Motherhood' was a beau­ of the rest of the evening. Us­ big band sound into rock. The which are traditionally black rear of the I ibrary. The films tilul'y lyric and fluid pattern of ing start! ing I ighting effects, fea­ Express got off to a slow start, music. It seems that the blues will be shown tomorr ow fr om movement, danced by Betty Titts­ tur ing a strobe I ight, the seem­ but after two or three numbers have been taken over by white 1 to 3 p.m., Wednesday from "Orth, Linda Sasscer, Darlene ingly disor ganized Happenings finally started to get rolling, men. The Cream, Ten Years Af­ was chaos made fun. sparked by Buddy Miles' wailing ter, Butterfield' s Blues Band, 2 to 4 p.m., and Thursday from voic e and solid, dynamic rhy­ Janis Joplin, are all white mu­ 1 to 3 p.m. The three films The mu sic for the evening was thm. By the time they were done, SICians playing whitewashed will be Confrontation, Part I, a montage of sound effects, con­ the audience was I iterally dwnc­ black music for a white audience. Eldridge Cleaver and Paris-­ temporary twelve tone compo­ ing in the aisles and screaming And even the black Chicago­ lttay 1968. sitions, electronic music, and for more. based blues men, such as Muddy The Guerilla theatre has been Pop traditional classical selections. Country Joe and the Fish came waters and James Cotton and invited to present their political The colorful costumes were de­ on next and the concert really B.B. King play before predomin­ action Drama one day during the signed by the dancers and made got under way for me. I haven' t antly white audiences today. It "eek. They have not set a date by Marie Harmon and Linda Sor- Viewpoint heard the Fish in concert for seems that the blacks, especially for their performance. by Robe rl Goold a! most two years, but was de­ the militant blacks don' t want Miss Sue Kemp, Library re­ lighted last night to find that anything to do with the music presentative for the displays, Fhe of England's finest musi­ their live show is almost toP­ of their enslaved for-fathers, stated that the theme "as sug­ cians are called PENTANGLE. heavy with political overtones. even when black men play it. gested by various members of The group consists of virtuouso The Fish don't play " psychede­ A few years ago, during the folk the fa cui ty and student body. The guitarists John Renbourn and lic•· (that word ought to be struck music boom, there were long and display, >'ihich contains slogans Bert Jansch, Danny Thompson, from the language) music any­ serious arguments over whether from various organizations and a brilliant bassist, Terry Cox more. The only number that they the white man could sing and play copies of several underground on drums and the delicate voice played that even vaguely brought the blues. That question seems newspapers, is scheduled for an­ of Jacqui '.tc Shee. Their most that overworked genre to mind settled. Now I wonder whether other week and "ill remain lon­ recent effort called "SWEET was Section 43, a long, dreamy the black man can listen to the ger if enough interest is shown. CHILD" (2RS633-l) is a superb instrumental that they opened blues. double album containing a "live their set with. From then on The final group on the bill was concert" at Royal Festival Hall in it was pure politics, with a Frank Zappa and the Mothers of 111 London and nine studio record­ number of tongue-in- cheek com­ Invention. Zappa is a musical ing~. Jazz, blues and folk are ments about Baltimore's own iconoclast who carefully incor­ Jim Schwartz presented in a poignant and pre­ somewhat indecent decency rally. porates elements of symphonic cbe manner. Particularly effec­ Vietnam popped up a number of arranging and third stream jazz ti'" cuts are Bruton To"n ~ times in the songs, sometimes into his progressive rock. The traditional English song of love for in an absurd I ight (some things Mothers are a large group. fea­ nd murder) and Three Part are so serious that our only de­ turing horns, organ, and guitar Thmg "herein a counterpoint fense is to treat them as the as leads, and Zappa has plenty theme composed for three in­ absurdities they are) sometimes of resources to call upon when truments is impro' ised on the sentimentally (Daddy's been kill­ he wants to present sound paint­ SGA V. P. mode. ed in the war, he ' s not coming ings or just freaky sounds for home). Country Joe and the Fish, their own sake. He has a repu­ Lo from England comes a and other groups like them (the tation for being rude to his audi­ rather ta'ented "rock and roll MCS, for exam pi e) are playing ences (in Ne" York I watched blu s jazz quartet•· called Jet­ movement rock today. and are the him announce there would be hro Tull <named after the inven­ topical songsters of rock, much ten minutes of dead air space Steve Taylor tor oC the plough) Their fir.t as Phil Oches and Dylan were and there was as the musicians !bum callt.'d "Thi \\as" (RS the topical songsters of folk mus­ put down their instruments and 6336) the flute, guitar, bass ic. lit cigarettes and generally goof­ drum in efCecthe combina­ for Ten Years After, a blues band ed off on stage for ten minutes, beo the group perform from England (where else?) came putting everybody in the audience c they appear as old men onstage next and played three plenty up tight). Last night, how­ ir and beards.
Load more

Recommended publications
  • Rosemary Lane the Pentangle Magazine
    Rosemary Lane the pentangle magazine Issue No 12 Summer 1997 Rosemary Lane Editorial... (thanks, but which season? and we'd Seasonal Greetings! rather have had the mag earlier!) o as the summer turns into autumn here we extensive are these re-issues of the Transatlantic are once more with the latest on Pentangle years - with over 30 tracks on each double CD in Rosemary Lane. In what now seems to be that the juxtaposition of the various musical its characteristic mode of production - i.e. long styles is frequently quite startling and often overdue and much anticipated - thanks for the refreshing in reminding you just how broad the reminders! - we nevertheless have some tasty Pentangle repertoire was in both its collective morsels of Pentangular news and music despite and individual manifestations. More on these the fact that all three current recording projects by in news and reviews. Bert and John and Jacqui remain works in progress - (see, Rosemary Lane is not the only venture that runs foul of the limitations of one human being!). there’s a piece this time round from a young Nonetheless Bert has in fact recorded around 15 admirer of Bert’s who tells how he sounds to the or 16 tracks from which to choose material and in ears of a teenage fan of the likes of Morrissey and the interview on page 11 - Been On The Road So Pulp. And while many may be busy re-cycling Long! - he gives a few clues as to what the tracks Pentangle recordings, Peter Noad writes on how are and some intriguing comments on the feel of Jacqui and band have been throwing themselves the album.
    [Show full text]
  • Scanned Image
    INSIDE Singleschart, 6-7;Album chart,17; New Singles, 18; NewAlbums, 13; Airplay guide, 14-15; lndpendent Labels, 8; Retailing 5. June 28, 1982 VOLUME FIVE Number 12 65p RCA sets price Industry puts brave rises on both face on plunging LPs & singles RCAis implementing itsfirst wide- ranging increase in prices since January Summer disc sales 1981. Then its new 77p dealer price for singles sparked trade controversy but ALL THE efforts of the record industryfor the £s that records appear to be old the rest of the industry followed in due to hold down prices and generate excite-hat. People who are renting a VCR are course. ment in recorded music are meeting amaking monthly payment equivalent to With the new prices coming into stubbornly flat market. purchasing one LP a week," he said. effect on July 1, RCA claims now to be Brave faces are being worn around the Among the major companies howev- merely coming into line with other major companies but itis becominger, there is steadfast resistance to gloom. companies. clear that the business is in the middle of Paul Russell, md of CBS, puts the New dealer price for singles will be an even worse early Summer depressionproblem down to weak releases and is 85p (ex VAT) with 12 -inch releases than that of 1981. happy to be having success with Joan costing £1.49, a rise of 16p. On tapes The volume of sales mentioned by theJett, The Clash, Neil Diamond andWHETHER IT likes it or not, Polydorand albums the 3000 series goes from RB chart department shows a decline ofAltered Images with the prospect of bigis now heavy metal outfit Samson's£2.76 to £2.95, the 6000 series from between 20 and 30 percent over the samereleases from Judas Priest and REOrecord company.
    [Show full text]
  • SANDY DENNY UNDER REVIEW: an Independent Critical Analysis, Limited Collectors Edition
    SANDY DENNY UNDER REVIEW: An Independent Critical Analysis, Limited Collectors Edition The difference between a critical analysis of {$Sandy Denny} or {$The Velvet Underground} and {$The Rolling Stones} is that with a lot less information available on this extraordinary singer the audience is more limited. The good news is that this edition of the "Under Review" series actually lives up to the documentary status it claims, and does, indeed, hold one's attention and inform better than the {^Green Day: Under Review 1995-2000 The Middle Years}, which is basically a bunch of critics blowing lots of hot air. It seems with these "DVD/Fanzine" type commentaries that the lesser known the subject matter, the better the critique. Denny is a singer that deserves so much more acclaim and study, and this is an excellent starting point, as is the {$Kate Bush} "Under Review", and even the {$David Bowie} {^Under Review 1976-79 Berlin} analysis which concentrates on his dark but fun period. {$Fairport Convention} fiddler {$Dave Swarbrick}, journeyman {$Martin Carthy}, {$Cat Stevens} drummer {$Gerry Conway} of Denny's band, {$Fotheringay} and {$Pentangle}'s {$John Renbourn} contribute as does {$Fairport Convention} biographer {$Patrick Humphries}. That's the extra effort missing in some of these packages which makes this close to two hour presentation all the more interesting. Perhaps more important than the very decent {$Kate Bush} analysis by the {^Under Review} team, there's a "Limited Collector's Edition" with a cardboard slipcover. It's a very classy presentation and a very important history that deserves shelf space in any good library.
    [Show full text]
  • 1 John Renbourn. John Renbourn Est Un Guitariste Folk Anglais Né En
    John Renbourn . John Renbourn est un guitariste folk anglais né en 1944 en Angleterre appartenant à la mouvance créée par Davey Graham (co-auteur de « Angie » avec Janch, qu’interpréta Paul Simon sur son premier disque). Il est connu du public pour ses collaborations avec le guitariste Bert Jansch, ainsi que pour son travail au sein du groupe folk qu’il a formé avec lui et d’autres, le Pentangle, mais a toujours mené une carrière solo avant, pendant et après l'activité du groupe (de 1967 à 1973). Ecoutons le : White house blues (du disque Faro Annie ) : http://official.fm/tracks/323234 Little Sadie (du disque Faro Annie ) : http://official.fm/tracks/323235 Shake, shake mama (du disque Faro Annie ) : http://official.fm/tracks/323236 John Renbourn a étudié la guitare classique à l'école, et c'est pendant cette période qu'il a fait la connaissance de la Musique Primitive. Dans les années 1950, il fut grandement inspiré par l'originalité décalée du Skiffle et ce fut pour lui l'occasion d'explorer le travail d'artistes tels que Leadbelly, Josh White et Big Bill Broonzy. Au début des années soixante, la mode populaire était au Rhythm and Blues, dont se réclamaient des groupes tels que les Rolling stones. Cette émergence de la musique noire américaine au Royaume-Uni tient beaucoup à l'influence de guitaristes acoustiques tels que Davey Graham. En 1961, Renbourn a ainsi tourné dans le Sud- Ouest des États-Unis avec Mac MacLeod, tour de chant répété en 1963. Pendant ses études au Kingston College of Art de Londres, Renbourn fit brièvement partie d'un groupe de Rhythm and Blues.
    [Show full text]
  • The Folk Club of Reston-Herndon Preserving the Traditions of Folk Music, Folk Lore, and Gentle Folk Ways Volume 28, Issue 7 July 2012
    The Folk Club of Reston-Herndon Preserving the traditions of Folk Music, Folk Lore, and Gentle Folk Ways www.RestonHerndonFolkClub.com Volume 28, Issue 7 July 2012 July 10 Showcase – Scott Malyszka & Friends When I was a spiritual person in my younger days, I loved a good sermon. Now you ask various church people what makes a good sermon, and you'll have trouble getting a lot of agreement. Some people want to hear comfortable, familiar platitudes, and some like loud shouting and stomping around. Others expect the preacher to give a deep academic exposition of a text or topic. I knew one strange guy who would say, "If I don't feel guilty and ashamed after a sermon, then that preacher isn't doing his job." Whoa, yikes! I always felt that a good sermon simply meant telling a good story. When a person could stand in front of an audience and paint stories in their imaginations, well that's what I liked. And when I had the task of delivering a sermon, I tried to put together twenty minutes of good stories. I modeled my sermons on Garrison Keeler and John Steinbeck rather than Billy Graham or Jimmy Swaggart, the most popular preachers back then. After many years as a church person I came to the cynical conclusion that most people go to church to see their friends and to be entertained by the sermon and the music. I'm not a spiritual person now, but I do have a great appreciation for friends, stories, and music. I'm always finding intriguing new melodies from fiddle tunes and songs, and writing my own songs is my way of making up stories today.
    [Show full text]
  • Rosemary Lane 1996-99
    Introducing Rosemary Lane 1996-99 hese six editions of Rosemary Lane from T1996-99 cover vibrant years in the post- Pentangle musical projects of Bert Jansch, Jacqui McShee and John Renbourn. Bert married Loren Auerbach, launched his successful come-back album When the Circus Come to Town, brought his own musical circus to town by taking up regular residency with friends at the popular 12- Bar Club in Denmark Street, released a bootleg album from that experience, toured around the world and followed up with the memorable Toy Balloon from the studio. Jacqui put out the first fruits of her collaboration with Gerry Conway and Spencer Cousins in the long-awaited About Thyme album, began work on the follow-up Passe Avant whilst touring Europe and the UK both with her own band and John Renbourn. John himself had started working on arrangements that eventually emerged on the album Traveller’s Prayer, but in the meantime was overtaken by the release of the Lost Sessions album of recordings from the early ‘70’s, whilst touring the US and Europe which also gave rise to the Live in Italy collection. He played with Jacqui, Stefan Grossman, Isaac Guillory, Archie Fisher, Wizz Jones and even teamed up again with Dorris Henderson for some impromptu concerts re-visiting their early 1960’s collaborations. So when you read the magazines now, you will quickly discover they depict three flourishing talents fully- engaged with their music and thrilling audiences wherever they performed. he magazine was despatched to all four corners of the British Isles. TInternationally the most popular continent was Europe headed up by readers in Germany, Italy and Norway with fewer in Belgium, the Netherlands, Denmark, France, the Republic of Ireland, Spain, Portugal and Sweden.
    [Show full text]
  • An Analysis of John Peel's Radio Talk and Career At
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2008 The Power of a Paradoxical Persona: An Analysis of John Peel’s Radio Talk and Career at the BBC Richard P. Winham University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Communication Commons Recommended Citation Winham, Richard P., "The Power of a Paradoxical Persona: An Analysis of John Peel’s Radio Talk and Career at the BBC. " PhD diss., University of Tennessee, 2008. https://trace.tennessee.edu/utk_graddiss/440 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Richard P. Winham entitled "The Power of a Paradoxical Persona: An Analysis of John Peel’s Radio Talk and Career at the BBC." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in Communication and Information. Paul Ashdown, Major Professor We have read this dissertation and recommend its acceptance: Barbara Moore, Naeemah Clark, Michael Keene Accepted for the Council:
    [Show full text]
  • The Making of a Modern Fingerstyle Album: Exploring Relevant Techniques and Fingerstyle History
    University of Huddersfield Repository Cronin, Reece The Making of a Modern Fingerstyle Album: Exploring Relevant Techniques and Fingerstyle History Original Citation Cronin, Reece (2018) The Making of a Modern Fingerstyle Album: Exploring Relevant Techniques and Fingerstyle History. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34632/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ The Making of a Modern Fingerstyle Album: Exploring Relevant Techniques and Fingerstyle History Reece Cronin A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Master of Music by Research The University of Huddersfield February
    [Show full text]
  • Rosemary Lanerosemary Lane the Pentangle Magazine
    Rosemary LaneRosemary Lane the pentangle magazine John Renbourn: Of Tunes and Troubadours Tour dates in the UK and US Guitar Tablature: classic Bert and a new arrangement by John Letters and Reviews Issue No 11 Winter 1996/7 Rosemary Lane Editorial... A Happy New Year to all! Rosemary Lane RL Ed 2 Rosemary Lane Contents Rosemary Lane Winter 1996/7 Issue No 11 Page Editorial 2 JacquiConcert McShee: Review: Contents/Next Month 3 Bert a& tale John at The Jolly Gardeners 21 Letters 4-6 GuitarAbout TablatureThyme 1 - Tuning Up - News 7-8 An Phis Fhlinch arr. John Renbourn 24-27 Tour Dates - Bert and Jacqui's Pentangle 9 Guitar Tablature 2 - Tour Dates - John & Archie Fisher 10 One To A Hundred by Bert Jansch 28-29 Of Tunes and Troubadours - 11-12,14-15 Album Reviews: (John Renbourn interview) & 18-19,22-23 Album News: A Frenzy of Re-Issues! 32 & 30-31 Discography: Late Pentangle - 1992-95 33 John's Tablature - the lost tunes 13 Subscription Information 34 Sir John Alot... re-appraised 16-17 Information: Concert Review: Transatlantic Re-Issues on Castle 35 John & Jacqui at the Purcell Room 20 Lost Sessions / BC COMING IN THE NEXT ISSUE! op item next time round will be news of TBert's latest album. He'll be touring the UK in April so you'll get the chance to hear some of the new songs then....Now it's a while ago since I popped a teasing question about the most recorded song from the combined Pentangle repertoire. Many thanks to all those who wrote in.
    [Show full text]
  • Bert Jansch Bert and John Mp3, Flac, Wma
    Bert Jansch Bert And John mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: Bert And John Country: Japan Released: 1973 MP3 version RAR size: 1873 mb FLAC version RAR size: 1114 mb WMA version RAR size: 1391 mb Rating: 4.4 Votes: 716 Other Formats: DXD AU VOC TTA MP3 APE RA Tracklist Hide Credits A1 East Wind 1:22 Piano Tune A2 1:36 Written-By – John Renbourn Goodbye Pork Pie Hat A3 3:47 Written-By – Charles Mingus Soho A4 2:56 Written-By – Bert Jansch A5 Tic-Tocative 1:53 A6 Orlando 1:37 B1 Red's Favorite 1:31 B2 No Exit 1:22 B3 Along The Way 1:59 The Time Has Come B4 2:49 Written-By – Ann Briggs* B5 Stepping Stones 2:40 B6 After The Dance 2:23 Companies, etc. Manufactured By – Toshiba EMI Ltd Credits Engineer – Bill Leader Guitar – Bert Jansch, John Renbourn Written-By – Bert Jansch, John Renbourn Other versions Category Artist Title (Format) Label Category Country Year Bert Jansch & John Bert Jansch & Transatlantic TRA 144 Renbourn - Bert And TRA 144 UK 1966 John Renbourn Records John (LP, Album) Bert Jansch & John Bert Jansch & Renbourn - Bert And CMRCD203 Castle Music CMRCD203 UK 2001 John Renbourn John (CD, Album, RE, RM) Bert Jansch & John Bert Jansch & Renbourn - Bert And CMRCD203 Castle Music CMRCD203 UK Unknown John Renbourn John (CD, Album, RE, RM, RP) Bert Jansch & John Bert Jansch & VMD 6506 Renbourn - Stepping Vanguard VMD 6506 US Unknown John Renbourn Stones (CD, Album) Bert Jansch & John Bert Jansch & Renbourn - Bert And Transatlantic TRA 144 TRA 144 Japan 2005 John Renbourn John (CD, Album, Records pap) Related Music albums to Bert And John by Bert Jansch John Renbourn - So Clear Various - Classic Folk Guitar Various - The Best Of Folk-Music Bert Jansch - Heartbreak Bert Jansch & John Renbourn - Stepping Stones Bert Jansch Conundrum - Thirteen Down Bert Jansch - Jack Orion John Renbourn & Wizz Jones - Joint Control John Renbourn - John Renbourn The Pentangle - Basket Of Light.
    [Show full text]
  • “Covering” the Bluesman from a Distance
    Introduction In many ways, my journey towards this thesis topic began with my brother’s music collection. Throughout my teens he would introduce me to a wide range of local and international acts, many of which were influenced by African-American blues artists. This influence is evident in both their construction of sound and the old songs that they rerecorded. From there I began tracing musical influences from song credits and interview excerpts—a path often travelled by musicians and fans alike—that would eventually lead me to an appreciation of blues music. The penultimate step towards this topic came in the form of my honours thesis—a creative project that involved rerecording several tracks from the catalogue of an early Australian country music artist, one of which was titled “Blue Mountain Blues”.1 From there I turned to blues music in Australia. Initially conceived as a history of “Australian blues”, it became apparent that this proposed sub-genre struggled to unify and explain the disparate musical styles contained therein. Although each artist was clearly addressing the musical characteristics and influences I had come to recognise as “blues music”, it all sounded different. In the meantime, I developed a keen interest in a fellow colleague’s thesis topic that addressed the role of “covers” within the Australian music industry (Giuffre, 2005). My epiphany—and catalyst for the current thesis topic—eventually presented itself while viewing a live performance from Peter Green Splinter Group. The concert was split into two courses: an acoustic entrée featuring several Robert Johnson “covers”; and, an electric main with side dishes of early Fleetwood Mac material—the band Green had help found many years ago.
    [Show full text]
  • Linda Lewis 'Live in Old Smokey' Submitted By: Pat Tynan Media Tuesday, 14 February 2006
    Linda Lewis 'Live In Old Smokey' Submitted by: Pat Tynan Media Tuesday, 14 February 2006 Linda Lewis www.lindalewis.co.uk New Single: I Keep a Wish. Release Date Mon Feb 27 2006. 1. I Keep A Wish (L. Lewis) 2. I Don’t Do Don’t (L. Lewis) 3. I Keep A Wish (Recorded live at Ronnie Scott’s) Label: Market Square MSMCD 142 Dist: RSK Linda Lewis will be performing a selection of dates during March 2006. To launch her live shows in the UK Linda releases her self penned single CD “I Keep a Wish” & I Don’t Do Don’t on Mon 27 Feb to be followed by her album “Live in Old Smokey” on March 13, 2006. “One of the most talented singer songwriters this country has ever produced” Blues & Soul New CD: Live in Old Smokey. Release Date Mon March 13 2006. Recorded Live at Ronnie Scott’s Club, Soho, London. For Love’s Sake + I Don’t Do Don’t + I’m In Love Again + Waving + Old Smokey + I Keep a Wish + Love Plateau + Do You Know Dino. Moon and I + Far Cry Rock a Doodle Do + Grandaddy’s Calypso + Sideway Shuffle + Can’t Help Lovin’ That Man of Mine. Label: Market Square MSMCD 141 Dist: RSK Linda Lewis: “The first time I played Ronnie Scotts it was back in the seventies. I was one of the first non jazz singers to play there so I was scared! I could hear Ella and Sarah, Annie Ross and Blossom Dearie in the walls. Their lovely music which influenced me, as did Laura Nyro, Joni Mitchell, Stevie and Marvin.
    [Show full text]