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Varsity Jazz
Varsity Jazz Jazz at Reading University 1951 - 1984 By Trevor Bannister 1 VARSITY JAZZ Jazz at Reading University 1951 represented an important year for Reading University and for Reading’s local jazz scene. The appearance of Humphrey Lyttelton’s Band at the University Rag Ball, held at the Town Hall on 28th February, marked the first time a true product of the Revivalist jazz movement had played in the town. That it should be the Lyttelton band, Britain’s pre-eminent group of the time, led by the ex-Etonian and Grenadier Guardsman, Humphrey Lyttelton, made the event doubly important. Barely three days later, on 3rd March, the University Rag Committee presented a second event at the Town Hall. The Jazz Jamboree featured the Magnolia Jazz Band led by another trumpeter fast making a name for himself, the colourful Mick Mulligan. It would be the first of his many visits to Reading. Denny Dyson provided the vocals and the Yew Tree Jazz Band were on hand for interval support. There is no further mention of jazz activity at the university in the pages of the Reading Standard until 1956, when the clarinettist Sid Phillips led his acclaimed touring and broadcasting band on stage at the Town Hall for the Rag Ball on 25th February, supported by Len Lacy and His Sweet Band. Considering the intense animosity between the respective followers of traditional and modern jazz, which sometimes reached venomous extremes, the Rag Committee took a brave decision in 1958 to book exponents of the opposing schools. The Rag Ball at the Olympia Ballroom on 20th February, saw Ken Colyer’s Jazz Band, which followed the zealous path of its leader in keeping rigidly to the disciplines of New Orleans jazz, sharing the stage with the much cooler and sophisticated sounds of a quartet led by Tommy Whittle, a tenor saxophonist noted for his work with the Ted Heath Orchestra. -
EWVA 4Th Full Proofxx.Pdf (9.446Mb)
University of Plymouth PEARL https://pearl.plymouth.ac.uk Faculty of Arts and Humanities School of Art, Design and Architecture 2019-04 Ewva European Women's Video Art in The 70sand 80s http://hdl.handle.net/10026.1/16391 JOHN LIBBEY PUBLISHING All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. EWVA EuropeanPROOF Women’s Video Art in the 70s and 80s do not distribute PROOF do not distribute Cover image: Lydia Schouten, The lone ranger, lost in the jungle of erotic desire, 1981, still from video. Courtesy of the artist. EWVA European Women’s PROOF Video Art in the 70s and 80s Edited by do Laura Leuzzi, Elaine Shemiltnot and Stephen Partridge Proofreading and copyediting by Laura Leuzzi and Alexandra Ross Photo editing by Laura Leuzzi anddistribute Adam Lockhart EWVA | European Women's Video Art in the 70s and 80s iv British Library Cataloguing in Publication Data EWVA European Women’s Video Art in the 70s and 80s A catalogue entry for this book is available from the British Library ISBN: 9780 86196 734 6 (Hardback) PROOF do not distribute Published by John Libbey Publishing Ltd, 205 Crescent Road, East Barnet, Herts EN4 8SB, United Kingdom e-mail: [email protected]; web site: www.johnlibbey.com Distributed worldwide by Indiana University Press, Herman B Wells Library – 350, 1320 E. -
ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL
Bio information: ROBERT WYATT Title: ‘68 (Cuneiform Rune 375) Format: CD / LP / DIGITAL Cuneiform promotion dept: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com (Press & world radio); radio [-at-] cuneiformrecords.com (North American & world radio) www.cuneiformrecords.com FILE UNDER: ROCK “…the [Jim Hendrix] Experience let me know there was a spare bed in the house they were renting, and I could stay there with them– a spontaneous offer accepted with gratitude. They’d just hired it for a couple of months… …My goal was to make the music I’d actually like to listen to. … …I was clearly imagining life without a band at all, imagining a music I could make alone, like the painter I always wanted to be.” – Robert Wyatt, 2012 Some have called this - the complete set of Robert Wyatt's solo recordings made in the US in late 1968 - the ultimate Holy Grail. Half of the material here is not only previously unreleased - it had never been heard, even by the most dedicated collectors of Wyatt rarities. Until reappearing, seemingly out of nowhere, last year, the demo for “Rivmic Melodies”, an extended sequence of song fragments destined to form the first side of the second album by Soft Machine (the band Wyatt had helped form in 1966 as drummer and lead vocalist, and with whom he had recorded an as-yet unreleased debut album in New York the previous spring), was presumed lost forever. As for the shorter song discovered on the same acetate, “Chelsa”, it wasn't even known to exist! This music was conceived by Wyatt while off the road during and after Soft Machine's second tour of the US with the Jimi Hendrix Experience, first in New York City during the summer of 1968, then in the fall of that year while staying at the Experience's rented house in California, where he was granted free access to the TTG recording facility during studio downtime. -
Jmoriginal 2876.Pdf
THE SCENE FEB. 21-27, 1974) interplay and piano duos were her set, which included several, great melodically) gee oormg. very effective. terribly embarrassing jokes, was The concert was ·As far ~s material performed, her version of Rick Roberts' well-arranged. Mitchell's band, I wasn't able to recognize any of "Colorado." Tom Scott & The L.A. Express, the numbers from Soft Machine "Take It Easy" set the pace opened the show with half an albums. The compositions, for Jackson Browne's dynamic hour of their own fine jazz/rock. 'unfortunate1y, weren't much, set. It showed the talented David Then Mitchell emerged from the but the sensitive presentations of · Lindley (who would eventually wings to join them for a half them by the band made up for play guitar, piano, dobro and hour of her light rock tunes. their structural weakness. slide guitar) on elecqic fiddle After intermission, Mitchell Oh, yeah, guitarist Bill and Doug Haywood on bass and returned and did 50 minutes of DeArango and his trio (Skip vo'cals. Jackson's drummer, solo things (accompanying Hadden on drums and Ernie obviously not one of the herself on piano, dulcimer and Krivda on reeds) opened the musicians who were FOR· guitars) and the finale again SOFT MACHINE aadea guitar player (whose n~ e show with their music that EVERYMAN (as were Haywood featured her and the band. Smiling Dog Saloon I didn't catch) who supplied the DeArango claims no one will and Lindley), fell behind on a together. February 18 show. Both Marshall and understand for awhile. -
The Soft Machine the Soft Machine Mp3, Flac, Wma
The Soft Machine The Soft Machine mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Rock Album: The Soft Machine Country: US Released: 2010 Style: Jazz-Rock, Psychedelic Rock, Experimental, Prog Rock MP3 version RAR size: 1791 mb FLAC version RAR size: 1639 mb WMA version RAR size: 1582 mb Rating: 4.9 Votes: 391 Other Formats: TTA MIDI AUD AAC WAV APE DTS Tracklist Hide Credits Hope For Happiness 1 4:20 Written-By – Brian Hopper, Kevin Ayers, Mike Ratledge Joy Of A Toy 2 2:49 Written-By – Kevin Ayers, Mike Ratledge Hope For Happiness (Reprise) 3 1:37 Written-By – Brian Hopper, Kevin Ayers, Mike Ratledge Why Am I So Short? 4 1:38 Written-By – Hugh Hopper, Kevin Ayers, Mike Ratledge So Boot If At All 5 7:22 Written-By – Kevin Ayers, Mike Ratledge, Robert Wyatt A Certain Kind 6 4:10 Written-By – Hugh Hopper Save Yourself 7 2:25 Written-By – Robert Wyatt Priscilla 8 1:05 Written-By – Kevin Ayers, Mike Ratledge, Robert Wyatt Lullabye Letter 9 4:37 Written-By – Kevin Ayers We Did It Again 10 3:46 Written-By – Kevin Ayers Plus Belle Qu'une Poubelle 11 1:01 Written-By – Kevin Ayers Why Are We Sleeping? 12 5:31 Written-By – Kevin Ayers, Mike Ratledge, Robert Wyatt Box 25 / 4 Lid 13 0:47 Written-By – Hugh Hopper, Mike Ratledge Bonus Tracks Love Makes Sweet Music 14 2:27 Producer [Produced By] – Chas ChandlerWritten-By – Kevin Ayers Feelin' Reelin' Squeelin' 15 2:50 Producer [Produced By] – Kim FowleyWritten-By – Kevin Ayers Companies, etc. -
The Bulletin of Southwestern at Memphis/1984-85
CORRESPONDENCE DIRECTORY For information on the topics listed below write The legal to the person indicated: Southwe1 Academic Program Gerald Duff, Vice President and Dean of the College I gix, Academic Records, Transcripts, Registration the and Matriculation as fc Glenn W. Munson, Registrar Admissions and Transfers David J. Wottle, Dean of Admissions Alumni Association In additior Jennifer Prascher, Director of Alumni Programs gifts. Sorn coming to Athletics of years, George Lapides, Director of Athletics children c Dormitories and Student Housing C. V. Scarborough, Dean of Students Business Matters Thomas R. Kepple, Jr., Dean of Administrative Services Financial Aid Ray M. Allen, Dean of Financial Aid and Government Relations General Information Loyd C. Templeton, Jr., Assistant to the President for College Relations Gifts or Bequests Donald J. Lineback, Dean of College Resources Summer Session Robert R. Llewellyn, Associate Dean of the College and Director of the Summer Session THE BULLETIN OF SOUTHWESTERN AT MEMPHIS (Pub. No. 554-280) Is Published Quarterly By Southwestern At Memphis, 2000 N. Parkway, Memphis, Tennessee 38112. Second-class postage paid at Memphis, Tennessee Volume 71 • No. 2 — April 1984 f, The Bulletin of Southwestern At Memphis/1984-85 THE COLLEGE OF LIBERAL ARTS AND SCIENCES FOUNDED IN 1848 TABLE OF CONTENTS (For more detailed references see the Index) General Information Purpose, 8 Admissions, 10 Expenses, 14 Scholarships and Student Aid, 16 Student Life, 22 Student Services, 27 Campus Regulations, 29 The Educational Program Planning a Degree, 34 Special Study Opportunities, 42 Foreign Study, 44 Academic Regulations, 46 Courses of Instruction, 50 Center for Continuing Education, 156 The Burrow Library, 157 The Computer Center, 159 Matters of Record Board of Trustees, 162 Emeriti, 164 Administration, 167 Sponsored Programs, 170 Prizes, Endowments and Memorials, 171 The Physical Plant, 179 Annual Commencement, 1983, 181 Southwestern At Memphis is a fully accred- COLLEGE CALENDAR ited four-year college of liberal arts and sciences. -
Soft Machine Fourth Mp3, Flac, Wma
Soft Machine Fourth mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Other Album: Fourth MP3 version RAR size: 1416 mb FLAC version RAR size: 1626 mb WMA version RAR size: 1708 mb Rating: 4.6 Votes: 730 Other Formats: MMF DMF AU MPC WMA ADX MP4 Tracklist 1 Teeth 9:13 2 Kings And Queens 5:01 3 Fletcher's Blemish 4:36 4 Virtually Part 1 5:16 5 Virtually Part 2 7:06 6 Virtually Part 3 4:33 7 Virtually Part 4 3:22 Companies, etc. Manufactured By – Sony Music Direct (Japan) Inc. Phonographic Copyright (p) – Sony BMG Music Entertainment (UK) Ltd. Remastered At – The Audio Archiving Company Recorded At – Olympic Studios Credits Alto Saxophone, Saxello – Elton Dean Bass Clarinet, Alto Flute – Jimmy Hastings Bass Guitar – Hugh Hopper Cornet – Marc Charig Double Bass – Roy Babbington Drums – Robert Wyatt Engineer – George Chkiantz Executive-Producer – Sean Murphy Organ, Piano – Mike Ratledge Producer – Soft Machine Remastered By – Paschal Byrne Research [Compilation And Tape], Liner Notes – Mark Powell Tenor Saxophone – Alan Skidmore Trombone – Nick Evans Notes Originally released in February 1971 as CBS 64280 (Soft Machine - Fourth). Comes in a CD sized papersleeve album replica, with Obi-strip and two inserts of notes mostly in Japanese. Barcode and Other Identifiers Barcode (Text): 4 582192 933688 Barcode (String): 4582192933688 Matrix / Runout: PLA-634X 1 Mastering SID Code: IFPI L277 Mould SID Code: IFPI 45KF Rights Society: JASRAC Other versions Category Artist Title (Format) Label Category Country Year S 64280 Soft Machine Fourth (LP, Album) CBS S 64280 UK 1971 Sony Music Fourth (CD, Album, RE, MHCP 424 Soft Machine Direct (Japan) MHCP 424 Japan 2004 Pap) Inc. -
An Introduction to Canterburied Sounds Mp3, Flac, Wma
Various An Introduction To Canterburied Sounds mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Rock / Pop Album: An Introduction To Canterburied Sounds Country: UK Released: 1998 Style: Blues Rock, Acoustic, Folk Rock MP3 version RAR size: 1972 mb FLAC version RAR size: 1601 mb WMA version RAR size: 1144 mb Rating: 4.7 Votes: 560 Other Formats: WAV MP3 ASF MOD DXD AC3 MMF Tracklist 1 –Brian* & Hugh* That's Alright Mama 1:12 2 –Brian Hopper, Hugh Hopper, Pye Hastings Comments 2:20 3 –Brian*, Hugh* & Robert Wyatt Tanglewood Tails 1:58 4 –Brian Hopper, Hugh Hopper, Pye Hastings Comments 1:37 5 –The Wild Flowers* Thinking Of You 1:37 6 –Brian Hopper, Hugh Hopper, Pye Hastings Comments 1:57 7 –Mike Ratledge, Robert*, Brian* & Hugh* Man In A Deaf Corner 1:10 8 –Brian Hopper, Hugh Hopper, Pye Hastings Comments 0:25 9 –Mike* & Robert* Summertime 1:35 10 –Caravan Summertime 1:41 11 –Brian Hopper, Hugh Hopper, Pye Hastings Comments 1:37 12 –Soft Machine Esther's Nose Job 2:28 13 –Brian Hopper, Hugh Hopper, Pye Hastings Comments 0:26 14 –Caravan Feelin', Reelin', Squealin' 1:45 15 –Brian Hopper, Hugh Hopper, Pye Hastings Comments 2:13 16 –Caravan Austin Cambridge 1:21 Companies, etc. Recorded At – T.L.C.S. Studios Marketed By – Voiceprint Group Of Companies Distributed By – Voiceprint Group Of Companies Credits Coordinator – Robin Ayling Engineer – Julian Hastings*, Pye Hastings Mastered By – Chris Thorpe Painting [Cover Painting] – Leslie Hopper Producer – Brian Hopper Notes Excerpts from Canterburied Sounds Volume 1, Canterburied Sounds Volume 2, Canterburied Sounds Volume 3, Canterburied Sounds Volume 4, with comments from Brian Hopper, Hugh Hopper and Pye Hastings. -
Canterbury Sound’ Andy Bennett UNIVERSITY of SURREY
Music, media and urban mythscapes: a study of the ‘Canterbury Sound’ Andy Bennett UNIVERSITY OF SURREY In this article I examine how recent developments in media and technology are both re-shaping conventional notions of the term ‘music scene’ and giving rise to new perceptions among music fans of the relationship between music and place. My empirical focus throughout the article is the ‘Canterbury Sound’, a term originally coined by music journalists during the late 1960s to describe the music of Canterbury1 jazz-rock group the Wilde Flowers, and groups subsequently formed by individual members of the Wilde Flowers – the most well known examples being Caravan, Hatfield and the North and Soft Machine (see Frame, 1986: 16; Macan, 1997; Stump, 1997; Martin, 1998), and a number of other groups with alleged Canterbury connections. Over the years a range of terms, for example ‘Motown’, the ‘Philadelphia Sound’ and, more recently, the ‘Seattle Sound’, have been used as a way of linking musical styles with particular urban spaces. For the most part, however, these terms have described active centres of production for music with a distinctive ‘sound’. In contrast, however, in its original context the Canterbury Sound was a rather more loosely applied term, the majority of groups and artists linked with the Canterbury Sound being London-based and sharing little in the way of a characteristic musical style. Since the mid-1990s, however, the term ‘Canterbury Sound’ has acquired a very different currency as a new generation of fans have constructed a discourse of Canterbury music that attempts to define the latter as a distinctive ‘local’ sound with character- istics shaped by musicians’ direct experience of life in the city of Canterbury. -
Look, No Wires
French fancy NAD C 510 Beautiful System from 24/192 DAC/preamp style-maker Elipson p90 that’s a music master PASSION FOR SOOUND Issue No. 395 March 2015 Diamond WIN SILVER 8 speakers from MA worth Life £1,250 Why Wharfedale’s 2300 floorstander is such a gem Bose, Eclipse, JBL, Philips, Sennheiser & Sony 30PRODUCTS ON TEST: UK EXCLUSIVE DENON HEOS Multi-room setup to challenge Sonos PRINTED IN THE UK US$13.99 US$13.99 PRINTED IN THE UK £4.50 2015 MARCH GROUP TEST Look, no wires Viva la Evolution! Six Bluetooth cans Stunning 100A integrated for music on the go from UK specialist Creek Our SuperUniti all-in-one player will unleash your digital music, from high- resolution audio files to Spotify playlists. Its analogue heart is an integrated amplifier backed by 40 years of engineering knowledge to offer countless years of musical enjoyment. Just add speakers. SuperUniti. Reference digital music player and integrated amplifier. Next-generation music systems, hand-built in Salisbury, England. Discover more at naimaudio.com INTRODUCTION PASSION FOR SOUND Welcome www.hifichoice.co.uk Issue No. 395 March 2015 Try to imagine for a moment a world without wires connecting your speakers and hi-fi components. It’s a pretty impossible thought for a serious hi-fi fan, right? Most of us see wires like the veins of our hi-fi systems that carry the signal 58 Novafidelity X12 between vital components enabling the music to flow to our speakers, delivering soundwaves to ears, bringing the music to life and feeding our souls. -
Une Discographie De Robert Wyatt
Une discographie de Robert Wyatt Discographie au 1er mars 2021 ARCHIVE 1 Une discographie de Robert Wyatt Ce présent document PDF est une copie au 1er mars 2021 de la rubrique « Discographie » du site dédié à Robert Wyatt disco-robertwyatt.com. Il est mis à la libre disposition de tous ceux qui souhaitent conserver une trace de ce travail sur leur propre ordinateur. Ce fichier sera périodiquement mis à jour pour tenir compte des nouvelles entrées. La rubrique « Interviews et articles » fera également l’objet d’une prochaine archive au format PDF. _________________________________________________________________ La photo de couverture est d’Alessandro Achilli et l’illustration d’Alfreda Benge. HOME INDEX POCHETTES ABECEDAIRE Les années Before | Soft Machine | Matching Mole | Solo | With Friends | Samples | Compilations | V.A. | Bootlegs | Reprises | The Wilde Flowers - Impotence (69) [H. Hopper/R. Wyatt] - Robert Wyatt - drums and - Those Words They Say (66) voice [H. Hopper] - Memories (66) [H. Hopper] - Hugh Hopper - bass guitar - Don't Try To Change Me (65) - Pye Hastings - guitar [H. Hopper + G. Flight & R. Wyatt - Brian Hopper guitar, voice, (words - second and third verses)] alto saxophone - Parchman Farm (65) [B. White] - Richard Coughlan - drums - Almost Grown (65) [C. Berry] - Graham Flight - voice - She's Gone (65) [K. Ayers] - Richard Sinclair - guitar - Slow Walkin' Talk (65) [B. Hopper] - Kevin Ayers - voice - He's Bad For You (65) [R. Wyatt] > Zoom - Dave Lawrence - voice, guitar, - It's What I Feel (A Certain Kind) (65) bass guitar [H. Hopper] - Bob Gilleson - drums - Memories (Instrumental) (66) - Mike Ratledge - piano, organ, [H. Hopper] flute. - Never Leave Me (66) [H. -
Soft Machine Fourth Mp3, Flac, Wma
Soft Machine Fourth mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Rock Album: Fourth Country: Europe Released: 1971 Style: Jazz-Rock, Fusion, Prog Rock MP3 version RAR size: 1586 mb FLAC version RAR size: 1547 mb WMA version RAR size: 1165 mb Rating: 4.4 Votes: 105 Other Formats: MP2 AAC AUD FLAC MOD WAV AU Tracklist 1 Teeth 9:12 2 Kings And Queens 5:00 3 Fletcher's Blemish 4:35 4 Virtually Part 1 5:17 5 Virtually Part 2 7:06 6 Virtually Part 3 4:31 7 Virtually Part 4 3:20 Companies, etc. Distributed By – Sony BMG Music Entertainment Phonographic Copyright (p) – Sony BMG Music Entertainment (UK) Ltd. Copyright (c) – Sony BMG Music Entertainment (UK) Ltd. Published By – Soft Machine Publishing Company Limited Published By – Robbins Music Corp. Published By – EMI Music Publishing Ltd. Recorded At – Olympic Studios Remastered At – The Audio Archiving Company Designed At – Waldo's Design & Dream Emporium Glass Mastered At – Sonopress Arvato – 52146330 Credits Alto Saxophone, Saxello – Elton Dean Art Direction [Original LP] – John Hays Bass Guitar – Hugh Hopper Coordinator [Project Co-ordination For Sony Bmg] – Alison Calvert, Charlie Stanford Cornet – Mark Charig* Design [CD Package - Reissue] – Phil Smee Design [Original Lp] – Bloomsbury Group Double Bass – Roy Babington* Drums – Robert Wyatt Engineer – George Chkiantz Executive-Producer – Sean Murphy Flute [Alto], Bass Clarinet – Jimmy Hastings Liner Notes, Edited By [Compilation], Research [Tape Research] – Mark Powell Organ, Piano – Mike Ratledge Photography By [All Other Photographs] – Barry Plummer Photography By [Cover] – Campbell MacCallum Producer – Soft Machine Remastered By – Paschal Byrne Tenor Saxophone – Alan Skidmore Trombone – Nick Evans Written-By – Elton Dean (tracks: 3), Hugh Hopper (tracks: 2, 4 to 7), Mike Ratledge (tracks: 1) Notes Originally released in February 1971 as CBS 64280.