Bass Transcriptions Bowie - Greatest Hits Transcribed by Eric Beaulé Table of Contents David Bowie (8 January 1947 – 10 January 2016) had a phenomenal musical career and success. He also had the opportunity to work with a variety of great bass players. Trevor Bolder (9 June 1950 – 21 May 2013) is one of these bass player that is featured in this ebook. Bolder is at the center of classic albums like 'Hunky Dory' (1971), 'The Rise And Fall Of Ziggy Stardust And The Spiders From Mars' (1972), 'Aladdin Sane' (1973) and 'Pin Ups' (1973). Other legendary bass players featured here are Willie Weeks, John Deacon, Carmine Rojas and producer Tony Visconti, who have different musical approaches, which you will have the chance to delve deeper into. Last but not least, make sure you check out and listen to Herbie Flowers very inspired bass line for the song 'Space Oddity'. His performance on this song is masterful bass playing. You’ll find within these pages, the bass lines for fifteen of David Bowie’s greatest songs. Bowie died in New York City on January 10th 2016, two days after his 69th birthday. I hope you’ll enjoy the book and happy shedding! © 2017 www.PlayBassLines.com Albums Song Titles David Bowie (1969) Space Oddity 3 The Man Who Sold The World (1970) The Man Who Sold The World 8 Hunky Dory (1971) Changes 14 Life On Mars? 19 The Rise And Fall Of ... (1972) Ziggy Stardust 22 Suffragette City 25 Starman 31 Aladdin Sane (1973) Jean Genie 36 Diamond Dogs (1974) Rebel Rebel 41 Young Americans (1975) Young Americans 45 Hot Space - Queen (1981) Under Pressure 50 Let's Dance (1983) China Girl 54 Let's Dance 59 Modern Love 64 1985 Single w/ Mick Jagger Dancing in the Street 71 © 2017 www.PlayBassLines.com.

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2021 Spring/Summer Series
Dear Patrons, Welcome back to live events at the Bologna Performing Arts Center! We are excited to have artists returning to our stage, and look forward to inviting you to attend shows again. Things will be a little different this spring and summer. Due to the ongoing nature of the pandemic, we are going to put each show on sale individually, about 4-6 weeks before each event. This allows us to make sure we are following the most recent executive orders, including audience capacity guidelines. Please refer to the on-sale dates for each artist in this brochure. Seating has been reduced for our Spring/Summer Series, and is being sold in staggered pairs and groups. We ask that you purchase all of the seats in the grouping to ensure that patrons are comfortable being seated together. At this time, all patrons are required to wear masks during their visit to the Bologna Performing Arts Center. All of our staff and volunteers will also wear masks, and do daily temperature checks and symptom monitoring. We ask you to please monitor your own health, and stay home if you do not feel well. We have also increased our cleaning and sanitation regimens. We have invested in new cleaning systems to ensure that the theater is totally sanitized prior to every performance. We encourage you to call us at 662-846-4625 or visit our website www.bolognapac.com for the latest health and safety operating guidelines prior to your visit. We are eager to resume presenting live events with this Spring/Summer Series.
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A Mercurial Star Soars Up,Onward
She lathi War Bprl Kntbrtainmbnt B Monday, August 29, 1983 wmmm "Yi iff V ppiliiilllilliiiliil - ' . illllllll i j TV w "ml mm s x v.:. - y v Jjhe Associated Press A mercurial star soars up, onward By CHARLES ELLMAKER But it's not just his audience that looks to him. Almost v. uid all singers from punk to New Wave to New Music are in- BILL RIEDY debted to Bowie for his influence. And if the sales and Staff Writers popularity of his latest album are any indication, Bowie's influence is still a thing to be reckoned with. The lights go out and the lighters go on, a sea of flicker- Even with all the hype, Bowie seems reserved even ing stars and screams, foot-stompi- ng and deafening ap- surprised and proud of himself when he gives the audience plause. an extra shake. And the crowd reacts screams and hoots "Ladies and Gentlemen . David Bowie." and whistles at each of the slightly sexual forays. It's ;:. It's been several years since The Rise andTaD qf Ziggy part of the Bowie appeal: larger than life but still one of t Stardust, but David Bowie can still fill a concert with us. energy. Bowie is a show-stoppe- r, but not a show stealer. The In fact, he's hotter than ever. And he proved that on guitarists were definitely on something, frenetically hop- Scope ping running Bowie .... ........ fi .v" Thursday night at the in Norfolk. and around behind like it was 1999, Gone are the days of Ziggy Stardust, painted faces and pumping up for several serious jam sessions while Bowie dresses here now are double-breaste-d Brooks Brothers took a breather.
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Young Americans to Emotional Rescue: Selected Meetings
YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music.
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WATCHMOJO – the Life and Career of David Bowie (1947-2016)
WATCHMOJO – The life and career of David Bowie (1947-2016) https://www.youtube.com/watch?v=Lan_wotkon0 [Fashion] Welcome to watchmojo.com and today we're taking a look at the life and career of David Bowie. [Queen Bitch] David Robert Jones was born on January 8 1947 in Brixton London England. Though he showed musical interest at a young age it was only in the early 60s that he really pursued the art. He started by joining several blues bands but branched off on his own when they had little success. Renaming himself David Bowie he released his self-titled debut in 1967. [Who's that hiding in the apple tree clinging to a branch] Its lack of success led Bowie to participate in a promotional film called Love you till Tuesday which showcased several of his songs. A particular interest was Space Oddity : that track became a hit after it was released at the same time as the first moon landing. [Ground control to Major Tom] His sophomore effort of the same name however was another commercial disappointment. [The man who sold the world] To promote his third album The man who sold the world, Bowie was put in a dress to capitalize on his androgynous look. [Life on mars] [Ziggy Stardust] In 1971 a pop influenced record called Hunky-Dory came out and was followed by the creation of his flamboyant Ziggy Stardust persona and stage show with backing band The Spiders from Mars. Then came his breakthrough record The rise and fall of Ziggy Stardust and the Spiders from Mars which climbed the charts thanks to his performance of the single Star Man on Top of the Pops.
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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.
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Music & Entertainment Auction
Hugo Marsh Neil Thomas Plant (Director) Shuttleworth (Director) (Director) Music & Entertainment Auction 20th February 2018 at 10.00 For enquiries relating to the sale, Viewing: 19th February 2018 10:00 - 16:00 Please contact: Otherwise by Appointment Saleroom One, 81 Greenham Business Park, NEWBURY RG19 6HW Telephone: 01635 580595 Christopher David Martin David Howe Fax: 0871 714 6905 Proudfoot Music & Music & Email: [email protected] Mechanical Entertainment Entertainment www.specialauctionservices.com Music As per our Terms and Conditions and with particular reference to autograph material or works, it is imperative that potential buyers or their agents have inspected pieces that interest them to ensure satisfaction with the lot prior to the auction; the purchase will be made at their own risk. Special Auction Services will give indica- tions of provenance where stated by vendors. Subject to our normal Terms and Conditions, we cannot accept returns. Buyers Premium: 17.5% plus Value Added Tax making a total of 21% of the Hammer Price Internet Buyers Premium: 20.5% plus Value Added Tax making a total of 24.6% of the Hammer Price Historic Vocal & other Records 9. Music Hall records, fifty-two, by 16. Thirty-nine vocal records, 12- Askey (3), Wilkie Bard, Fred Barnes, Billy inch, by de Tura, Devries (3), Doloukhanova, 1. English Vocal records, sixty-three, Bennett (5), Byng (3), Harry Champion (4), Domingo, Dragoni (5), Dufranne, Eames (16 12-inch, by Buckman, Butt (11 - several Casey Kids (2), GH Chirgwin, (2), Clapham and inc IRCC20, IRCC24, AGSB60), Easton, Edvina, operatic), T Davies(6), Dawson (19), Deller, Dwyer, de Casalis, GH Elliot (3), Florrie Ford (6), Elmo, Endreze (6) (39, in T1) £40-60 Dearth (4), Dodds, Ellis, N Evans, Falkner, Fear, Harry Fay, Frankau, Will Fyfe (3), Alf Gordon, Ferrier, Florence, Furmidge, Fuller, Foster (63, Tommy Handley (5), Charles Hawtrey, Harry 17.
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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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Louis Brown and Tony Visconti at L. Brown Recording Series 80B
Tony VisconTi WoWs aT PMi audio GrouP’s eVenT durinG The aes conVenTion New York, New York October 24- After making several appearances at PMI Audio Group’s booth at the 131st AES, Tony Visconti made his way from the Jacob Javits Event Center to L. Brown Recording on 9th Avenue for a special and intimate meet ‘n’ greet. Visconti is the legendary producer of David Bowie, T. Rex, Dandy Warhols, Moody Blues, Ziggy Marley, Thin Lizzy, Iggy Pop, The Finn Brothers and more recently Morrissey. Hosted by PMI and Louis Brown at L. Brown Recording, some lucky AES attendees were given invi - tations at the PMI Audio Booth during the show. The invitations also served as an entry to a special raffle in which Louis Brown and Tony Visconti at L. Brown Recording a Trident Series 80B® was given away! releases. Toft’s Trident Audio consoles The event was an informal Q&A forum have also been a favorite of Tony’s with Tony discussing his much-lauded over the years. history as well as current events. Tony The evening was capped off by the shared details of his many sessions at highly anticipated giveaway of a new Trident Recording Studios and EMI’s Trident Series 80B® module. Under Abbey Road Studios, both in London. the wanting eyes of the crowd, Tony One of which was recounting his skill picked a winner. Congratulations to as an expert recorder player. In Mark Downie! Mark is a producer, addition to his production duties with FOH mixer, musician and engineer David Bowie on Space Oddity and The from Massachusetts.
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Suffragette Study Guide
© ATOM 2015 A STUDY GUIDE BY KATY MARRINER http://www.metromagazine.com.au ISBN: 978-1-74295-622-0 http://www.theeducationshop.com.au Running time: 106 minutes » SUFFRAGETTE Suffragette (2015) is a feature film directed by Sarah Gavron. The film provides a fictional account of a group of East London women who realised that polite, law-abiding protests were not going to get them very far in the battle for voting rights in early 20th century Britain. click on arrow hyperlink CONTENTS click on arrow hyperlink click on arrow hyperlink 3 CURRICULUM LINKS 19 8. Never surrender click on arrow hyperlink 3 STORY 20 9. Dreams 6 THE SUFFRAGETTE MOVEMENT 21 EXTENDED RESPONSE TOPICS 8 CHARACTERS 21 The Australian Suffragette Movement 10 ANALYSING KEY SEQUENCES 23 Gender justice 10 1. Votes for women 23 Inspiring women 11 2. Under surveillance 23 Social change SCREEN EDUCATION © ATOM 2015 © ATOM SCREEN EDUCATION 12 3. Giving testimony 23 Suffragette online 14 4. They lied to us 24 ABOUT THE FILMMAKERS 15 5. Mrs Pankhurst 25 APPENDIX 1 17 6. ‘I am a suffragette after all.’ 26 APPENDIX 2 18 7. Nothing left to lose 2 » CURRICULUM LINKS Suffragette is suitable viewing for students in Years 9 – 12. The film can be used as a resource in English, Civics and Citizenship, History, Media, Politics and Sociology. Links can also be made to the Australian Curriculum general capabilities: Literacy, Critical and Creative Thinking, Personal and Social Capability and Ethical Understanding. Teachers should consult the Australian Curriculum online at http://www.australiancurriculum.edu.au/ and curriculum outlines relevant to these studies in their state or territory.
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A BOWIE CELEBRATION” ANNOUNCES 32-DATE 2019 NORTH AMERICAN WINTER TOUR Tickets for the March 16 Concert at Parker Playhouse Go on Sale Friday, September 14
September 10, 2018 Media Contact: Savannah Whaley Pierson Grant Public Relations 954.776.1999 ext. 225 Jan Goodheart, Broward Center 954.765.5814 “A BOWIE CELEBRATION” ANNOUNCES 32-DATE 2019 NORTH AMERICAN WINTER TOUR Tickets for the March 16 Concert at Parker Playhouse Go On Sale Friday, September 14 FORT LAUDERDALE – A Bowie Celebration: The David Bowie Alumni Tour featuring Mike Garson and fellow key alumni musicians of David Bowie’s bands from across the decades has announced a 32-date North American winter tour for 2019. Tickets for the Saturday, March 16 concert at Parker Playhouse go on sale Friday, September 14 at 10 a.m. A Bowie Celebration features alumni band members Mike Garson, Earl Slick, Gerry Leonard and Carmine Rojas along with world-class vocalists such as Bernard Fowler and Corey Glover, among others, and drummer Lee John performing a mix of Bowie’s hits and deep-cuts. Kicking off February 6 in Mesa, Arizona, A Bowie Celebration then stops in Los Angeles February 7 at the Orpheum Theatre before making its way across the country and into Canada. The critically acclaimed show will stop in San Francisco, Seattle, Vancouver, Denver, Chicago, Detroit, Cleveland, Toronto, Montreal, Boston, New York City (March 5 at Irving Plaza), Philadelphia, Louisville, Nashville, Fort Lauderdale, Houston, and Austin, among many other cities, before wrapping March 22 in Dallas. See below for full list of North American tour dates and venues and visit www.abowiecelebration.com for ticket information. Watch the show’s trailer here. Keyboardist and band leader Mike Garson, the longest-standing member of Bowie’s bands, performed with David at his first and last concerts in the United States as well as 1,000 concerts together around the globe in between.
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David Bowie's Urban Landscapes and Nightscapes
Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 17 | 2018 Paysages et héritages de David Bowie David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text Jean Du Verger Electronic version URL: http://journals.openedition.org/miranda/13401 DOI: 10.4000/miranda.13401 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Jean Du Verger, “David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text”, Miranda [Online], 17 | 2018, Online since 20 September 2018, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/13401 ; DOI: https://doi.org/10.4000/miranda.13401 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text 1 David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text Jean Du Verger “The Word is devided into units which be all in one piece and should be so taken, but the pieces can be had in any order being tied up back and forth, in and out fore and aft like an innaresting sex arrangement. This book spill off the page in all directions, kaleidoscope of vistas, medley of tunes and street noises […]” William Burroughs, The Naked Lunch, 1959. Introduction 1 The urban landscape occupies a specific position in Bowie’s works. His lyrics are fraught with references to “city landscape[s]”5 and urban nightscapes. The metropolis provides not only the object of a diegetic and spectatorial gaze but it also enables the author to further a discourse on his own inner fragmented self as the nexus, lyrics— music—city, offers an extremely rich avenue for investigating and addressing key issues such as alienation, loneliness, nostalgia and death in a postmodern cultural context.
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David Bowie Live Santa Monica '72 Mp3, Flac, Wma
David Bowie Live Santa Monica '72 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Live Santa Monica '72 Country: UK Style: Glam MP3 version RAR size: 1934 mb FLAC version RAR size: 1480 mb WMA version RAR size: 1691 mb Rating: 4.7 Votes: 469 Other Formats: RA TTA AU WMA MIDI TTA MMF Tracklist A1 Introduction 0:12 A2 Hang On To Yourself 2:47 A3 Ziggy Stardust 3:22 A4 Changes 3:27 A5 The Supermen 2:54 A6 Life On Mars? 3:27 B1 Five Years 4:32 B2 Space Oddity 5:05 B3 Andy Warhol 3:48 B4 My Death 5:50 C1 The Width Of A Circle 10:44 C2 Queen Bitch 3:00 C3 Moonage Daydream 4:53 C4 John, I'm Only Dancing 2:54 D1 Waiting For The Man 6:15 D2 The Jean Genie 3:59 D3 Suffragette City 4:12 D4 Rock 'N' Roll Suicide 2:59 Companies, etc. Recorded At – Santa Monica Civic Auditorium Mastered At – Sterling Sound Credits Bass Guitar – Trevor Bolder Drums – Mick "Woody" Woodmansey* Engineer – Mike Moran Guitar, Vocals – David Bowie Keyboards – Mike Garson Lead Guitar, Bass Guitar, Vocals – Mick Ronson Mastered By – Ted Jensen Mixed By – Grover Hesley* Recorded By – The Wally Heider Facility* Notes Possibly 2016 release. Other versions Category Artist Title (Format) Label Category Country Year BOWLIVE Live Santa BOWLIVE 201072LP, David Monica '72 201072LP, EMI, EMI UK & Europe 2008 50999 2127921 Bowie (2xLP, Album, 50999 2127921 8 Ltd, Num) 8 Make-Up And Audio David Rock & Roll ARC 2001 Recording ARC 2001 France 1983 Bowie (2xLP, Album, Corporation Unofficial) David Rarest Live (CD, BLCY-1020 MF Records BLCY-1020 Japan 2001 Bowie Unofficial) Rock'n'Roll
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