Extensions of Remarks E1107 HON. DANNY K. DAVIS HON. JIM KOLBE
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HIT the ROAD JACK Lyrics by Ray Charles
HIT THE ROAD JACK Lyrics by Ray Charles (Hit the road Jack and don't you come back no more, no more, no more, no more.) (Hit the road Jack and don't you come back no more.) What you say? (Hit the road Jack and don't you come back no more, no more, no more, no more.) (Hit the road Jack and don't you come back no more.) Woah Woman, oh woman, don't treat me so mean, You're the meanest old woman that I've ever seen. I guess if you said so I'd have to pack my things and go. (That's right) (Hit the road Jack and don't you come back no more, no more, no more, no more.) (Hit the road Jack and don't you come back no more.) What you say? (Hit the road Jack and don't you come back no more, no more, no more, no more.) (Hit the road Jack and don't you come back no more.) Now baby, listen baby, don't ya treat me this-a way Cause I'll be back on my feet some day. (Don't care if you do 'cause it's understood) (you ain't got no money you just ain't no good.) Well, I guess if you say so I'd have to pack my things and go. (That's right) (Hit the road Jack and don't you come back no more, no more, no more, no more.) (Hit the road Jack and don't you come back no more.) What you say? (Hit the road Jack and don't you come back no more, no more, no more, no more.) (Hit the road Jack and don't you come back no more.) Well (don't you come back no more.) Uh, what you say? (don't you come back no more.) I didn't understand you (don't you come back no more.) You can't mean that (don't you come back no more.) Oh, now baby, please (don't you come back no more.) What you tryin' to do to me? (don't you come back no more.) Oh, don't treat me like that (don't you come back no more.) . -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor Saxophone Musical Vocabulary
Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. DELFEAYO MARSALIS NEA Jazz Master (2011) Interviewee: Delfeayo Marsalis (July 28, 1965 - ) Interviewer: Anthony Brown with recording engineer Ken Kimery Date: January 13, 2011 Repository: Archives Center, National Museum of American History Description: Transcript, 38 pp. Brown: Ferdinand Delfeayo Marsalis. Good to see you again. Marsalis: You too, brother. Brown: It’s been, when? – since you were working with Max and the So What brass quintet. So that was about 2000, 2001? Marsalis: That was. Brown: So that was the last time we spent some time together. Marsalis: Had a couple of chalupas since then. Brown: I knew you had to get that in there. First of all, we reconnected just the other night over – Tuesday night over at the Jazz Masters Award at Lincoln Center. So, what did you think? Did you have a good time? Marsalis: I did, to be around the true legends and masters of jazz. It was inspiring and humbling, and they’re cool too. Brown: What do you think about receiving the award? For additional information contact the Archives Center at 202.633.3270 or [email protected] 1 Marsalis: I still feel I might be on the young side for that, but I think that my life has been, so far, dedicated to jazz and furthering the cause of jazz, and it’s something that I hope to keep doing to my last days. Brown: We’ll go ahead and start the formal interview. -
Multimillion-Selling Singer Crystal Gayle Has Performed Songs from a Wide Variety of Genres During Her Award-Studded Career, B
MultiMillion-selling singer Crystal Gayle has performed songs from a wide variety of genres during her award-studded career, but she has never devoted an album to classic country music. Until now. You Don’t Know Me is a collection that finds the acclaimed stylist exploring the songs of such country legends as George Jones, Patsy Cline, Buck Owens and Eddy Arnold. The album might come as a surprise to those who associate Crystal with an uptown sound that made her a star on both country and adult-contemporary pop charts. But she has known this repertoire of hardcore country standards all her life. “This wasn’t a stretch at all,” says Crystal. “These are songs I grew up singing. I’ve been wanting to do this for a long time. “The songs on this album aren’t songs I sing in my concerts until recently. But they are very much a part of my history.” Each of the selections was chosen because it played a role in her musical development. Two of them point to the importance that her family had in bringing her to fame. You Don’t Know Me contains the first recorded trio vocal performance by Crystal with her singing sisters Loretta Lynn and Peggy Sue. It is their version of Dolly Parton’s “Put It Off Until Tomorrow.” “You Never Were Mine” comes from the pen of her older brother, Jay Lee Webb (1937-1996). The two were always close. Jay Lee was the oldest brother still living with the family when their father passed away. -
AREA 24 RADIO PLAYLIST Rent Party 06.11.16 SONG ARTIST
AREA 24 RADIO PLAYLIST Rent Party 06.11.16 SONG ARTIST ALBUM flying home big jay mcneely swingin' shirley schoolboys vacation melodites treasure ska puppy love jimmy rivers best of len records hard luck juke boy bonner I'm going to the country the walk jimmy mccracklin this is my story turbans imperial records twine time alvin cash r&b hey mr. dj bobby moore's rhythm aces telling lies techniques ska treasures echate pa'lla cocolagos gozalo v3 harp and soul frank frost old blues hit the road jack ray charles I told you richard barrett tribute my love is with you cuff links best of let's make up spaniels 16 soulful serenades I have to cry birds hit vocal groups ain't that asking for trouble stevie wonder anthology what good is a castle joe bataan riot watermelon man baba brooks ska vol.3 watermelon man mongo santamaria la bamba bailala bien cortijo & su combo baile she loves another man jimmy rogers chess masters machicha joe loco calypso dance bald head prof. longhair new orleans r&b umcle henry's basement jesters best of baby don't tell me count basie best of jimmy rushing pete kay boogie pete johnson central ave. boogie nothing cats & fiddle killing jive moten stomp fletcher henderson best of so long love dukes golden groups I began to realize el doradoes crazy little mama I make this pledge chanters best of believe in me lamplighters best of AREA 24 RADIO PLAYLIST ay jose orquestra aragon cuban cha cha cha I'll be in trouble temptations temptin' temptations rub up push up justin hinds best of ska everybody's blues lil son jackson blues -
Lamp Records Singles Discography
Lamp Records by Frank Daniels On June 12, 1954, Aladdin Records announced that they were preparing to open a subsidiary label – appropriately named Lamp. Instead of being spread across the genres of R&B and Jazz, Lamp was going to focus exclusively on Rhythm & Blues. Lamp Records sent out its first promotional releases near the end of June, and at the beginning of July, four Lamp singles appeared on the commercial marketplace. Within a month, Aladdin opened an office in New York City, and Lamp Records took New York as its base of operations. Over the next six months, the new label released several batches of singles in two series. These were the 8000 series of R&B singles and two discs in the 9000 series, which was devoted to gospel music. Then, as suddenly as the label opened, Lamp closed its doors … temporarily. The matrix numbering at this time followed the system that Aladdin used more broadly, featuring a prefix indicating the recording place (e.g., TEX- for Texas or SF- for San Francisco) and a four-digit sequence number. Although the trade magazines did not always agree with their choice, Aladdin used the suffix “X” to mark the A-side of the single and a “Q” to indicate the B-side. Lamp Singles, 8000 & 9000 Series Lamp 8001 “When the Sun Goes Down”/ “Tryin’ to Fool Me” Leonard Lee First Mentioned in Trade Magazines: July 3, 1954 78 RPM single above; 45 RPM single below. Lamp 8001 “When the Sun Goes Down”/ “Tryin’ to Fool Me” Leonard Lee Leonard Lee was the “second half” of the Aladdin duo, Shirley & Lee. -
Buck Owens Obituary
Obituary of Buck Owens: March 27, 2006 By: Dave Hoekstra Buck Owens was more than a voice in country music. He was an American metaphor for the clarion of possibility after The Grapes of Wrath migration to California. Alvin Edgar "Buck" Owens was a honky-tonk singer, a TV star -- best known for his role in "Hee-Haw" -- and an entrepreneur who owned radio and television stations in Bakersfield, Calif. He was a good soul, one who would fly from Bakersfield to Portland, Ore., as he did in March 2005 to surprise compatriot Merle Haggard, who was opening for Bob Dylan. The depth of the moment was understood. With Mr. Owens standing stage right in a resplendent brown and black cowboy jacket, Dylan took a chance on Haggard's "Sing Me Back Home." Mr. Owens died Saturday at home in Bakersfield. He was 76. On Sunday, CMT.com reported the cause of death as a heart attack. He grew old, but his songs never became tired. In recent years he stopped touring outside of California, but he still managed to capture a new generation of fans that included Dwight Yoakam, Steve Earle and the Bottle Rockets. In the late 1990s, John Soss of Chicago's Jam Productions held an annual Buck Owens birthday party at Schubas that featured artists as diverse as soul singers Otis Clay and Mavis Staples, and country-rocker Jon Langford. Mr. Owens crossed borders he never would have dreamed of as a child when he headed west with his sharecropper parents from the Red River Valley near Sherman, Texas. -
The Big List (My Friends Are Gonna Be) Strangers Merle Haggard 1948 Barry P
THE BIG LIST (MY FRIENDS ARE GONNA BE) STRANGERS MERLE HAGGARD 1948 BARRY P. FOLEY A LIFE THAT'S GOOD LENNIE & MAGGIE A PLACE TO FALL APART MERLE HAGGARD ABILENE GEORGE HAMILITON IV ABOVE AND BEYOND WYNN STEWART-RODNEY CROWELL ACT NATURALLY BUCK OWENS-THE BEATLES ADALIDA GEORGE STRAIT AGAINST THE WIND BOB SEGER-HIGHWAYMAN AIN’T NO GOD IN MEXICO WAYLON JENNINGS AIN'T LIVING LONG LIKE THIS WAYLON JENNINGS AIN'T NO SUNSHINE BILL WITHERS AIRPORT LOVE STORY BARRY P. FOLEY ALL ALONG THE WATCHTOWER BOB DYLAN-JIMI HENDRIX ALL I HAVE TO DO IS DREAM EVERLY BROTHERS ALL I HAVE TO OFFER IS ME CHARLIE PRIDE ALL MY EX'S LIVE IN TEXAS GEORGE STRAIT ALL MY LOVING THE BEATLES ALL OF ME WILLIE NELSON ALL SHOOK UP ELVIS PRESLEY ALL THE GOLD IN CALIFORNIA GATLIN BROTHERS ALL YOU DO IS BRING ME DOWN THE MAVERICKS ALMOST PERSUADED DAVID HOUSTON ALWAYS LATE LEFTY FRIZZELL-DWIGHT YOAKAM ALWAYS ON MY MIND ELVIS PRESLEY-WILLIE NELSON ALWAYS WANTING YOU MERLE HAGGARD AMANDA DON WILLIAMS-WAYLON JENNINGS AMARILLO BY MORNING TERRY STAFFORD-GEORGE STRAIT AMAZING GRACE TRADITIONAL AMERICAN PIE DON McLEAN AMERICAN TRILOGY MICKEY NEWBERRY-ELVIS PRESLEY AMIE PURE PRAIRIE LEAGUE ANGEL FLYING TOO CLOSE WILLIE NELSON ANGEL OF LYON TOM RUSSELL-STEVE YOUNG ANGEL OF MONTGOMERY JOHN PRINE-BONNIE RAITT-DAVE MATTHEWS ANGELS LIKE YOU DAN MCCOY ANNIE'S SONG JOHN DENVER ANOTHER SATURDAY NIGHT SAM COOKE-JIMMY BUFFET-CAT STEVENS ARE GOOD TIMES REALLY OVER MERLE HAGGARD ARE YOU SURE HANK DONE IT WAYLON JENNINGS AUSTIN BLAKE SHELTON BABY PLEASE DON'T GO MUDDY WATERS-BIG JOE WILLIAMS BABY PUT ME ON THE WAGON BARRY P. -
Jazz at the Crossroads)
MUSIC 127A: 1959 (Jazz at the Crossroads) Professor Anthony Davis Rather than present a chronological account of the development of Jazz, this course will focus on the year 1959 in Jazz, a year of profound change in the music and in our society. In 1959, Jazz is at a crossroads with musicians searching for new directions after the innovations of the late 1940s’ Bebop. Musical figures such as Miles Davis and John Coltrane begin to forge a new direction in music building on their previous success earlier in the fifties. The recording Kind of Blue debuts in 1959 documenting the work of Miles Davis’ legendary sextet with John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers and Jimmy Cobb and reflects a new direction in the music with the introduction of a modal approach to composition and improvisation. John Coltrane records Giant Steps the culmination of the harmonic intricacies of Bebop and at the same time the beginning of something new. Ornette Coleman arrives in New York and records The Shape of Jazz to Come, an LP that presents a radical departure from the orthodoxies of Be-Bop. Dave Brubeck records Time Out, a record featuring a new approach to rhythmic structure in the music. Charles Mingus records Mingus Ah Um, establishing Mingus as a pre-eminent composer in Jazz. Bill Evans forms his trio with Scott LaFaro and Paul Motian transforming the interaction and function of the rhythm section. The quiet revolution in music reflects a world that is profoundly changed. The movement for Civil Rights has begun. The Birmingham boycott and the Supreme Court decision Brown vs. -
The Top 7000+ Pop Songs of All-Time 1900-2017
The Top 7000+ Pop Songs of All-Time 1900-2017 Researched, compiled, and calculated by Lance Mangham Contents • Sources • The Top 100 of All-Time • The Top 100 of Each Year (2017-1956) • The Top 50 of 1955 • The Top 40 of 1954 • The Top 20 of Each Year (1953-1930) • The Top 10 of Each Year (1929-1900) SOURCES FOR YEARLY RANKINGS iHeart Radio Top 50 2018 AT 40 (Vince revision) 1989-1970 Billboard AC 2018 Record World/Music Vendor Billboard Adult Pop Songs 2018 (Barry Kowal) 1981-1955 AT 40 (Barry Kowal) 2018-2009 WABC 1981-1961 Hits 1 2018-2017 Randy Price (Billboard/Cashbox) 1979-1970 Billboard Pop Songs 2018-2008 Ranking the 70s 1979-1970 Billboard Radio Songs 2018-2006 Record World 1979-1970 Mediabase Hot AC 2018-2006 Billboard Top 40 (Barry Kowal) 1969-1955 Mediabase AC 2018-2006 Ranking the 60s 1969-1960 Pop Radio Top 20 HAC 2018-2005 Great American Songbook 1969-1968, Mediabase Top 40 2018-2000 1961-1940 American Top 40 2018-1998 The Elvis Era 1963-1956 Rock On The Net 2018-1980 Gilbert & Theroux 1963-1956 Pop Radio Top 20 2018-1941 Hit Parade 1955-1954 Mediabase Powerplay 2017-2016 Billboard Disc Jockey 1953-1950, Apple Top Selling Songs 2017-2016 1948-1947 Mediabase Big Picture 2017-2015 Billboard Jukebox 1953-1949 Radio & Records (Barry Kowal) 2008-1974 Billboard Sales 1953-1946 TSort 2008-1900 Cashbox (Barry Kowal) 1953-1945 Radio & Records CHR/T40/Pop 2007-2001, Hit Parade (Barry Kowal) 1953-1935 1995-1974 Billboard Disc Jockey (BK) 1949, Radio & Records Hot AC 2005-1996 1946-1945 Radio & Records AC 2005-1996 Billboard Jukebox -
The Definitive Ray Charles Mp3, Flac, Wma
Ray Charles The Definitive Ray Charles mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Funk / Soul / Blues Album: The Definitive Ray Charles Country: Australia Released: 2001 Style: Soul-Jazz, Piano Blues, Soul MP3 version RAR size: 1217 mb FLAC version RAR size: 1100 mb WMA version RAR size: 1245 mb Rating: 4.2 Votes: 171 Other Formats: DTS RA APE AHX MP4 AAC AU Tracklist Hide Credits 1-1 Mess Around 1-2 It Should've Been Me 1-3 I've Got A Woman 1-4 This Little Girl Of Mine 1-5 A Fool For You 1-6 Drown In My Own Tears 1-7 Leave My Woman Alone 1-8 Hallelujah I Love Her So 1-9 Lonely Avenue 1-10 (Night Time Is) The Right Time 1-11 What'd I Say (Parts 1 And 2) 1-12 I Believe To My Soul 1-13 I'm Movin' On 1-14 Come Rain Or Come Shine 1-15 Don't Let The Sun Catch You Crying 1-16 Sticks And Stones 1-17 Georgia On My Mind 1-18 Ruby 1-19 One Mint Julep 1-20 I'm Gonna Move To The Outskirts Of Town 1-21 Hit The Road Jack 1-22 Unchain My Heart 1-23 Baby It's Cold Outside 1-24 At The Club 2-1 I Can't Stop Loving You 2-2 Born To Lose 2-3 You Don't Know Me 2-4 You Are My Sunshine 2-5 Your Cheatin' Heart 2-6 Take These Chains From My Heart 2-7 Busted 2-8 That Lucky Old Sun 2-9 Crying Time 2-10 Cincinnati Kid 2-11 Let's Go Get Stoned 2-12 I Don't Need No Doctor 2-13 In The Heat Of The Night 2-14 Yesterday 2-15 Eleanor Rigby 2-16 I Can Make It Thru' The Days 2-17 Rainy Night In Georgia 2-18 The Jealous Kind Shake Your Tailfeather 2-19 Featuring [With] – The Blues Brothers Seven Spanish Angels 2-20 Featuring [With] – Willie Nelson 2-21 I'll Be Good To You 2-22 Imagine Companies, etc. -
The Connection Song List
THE CONNECTION SONG LIST Thank you for downloading our song list! Which specific songs we perform at any given event is based on 3 factors: 1) Popular music that will create an unforgettable party. We “read” your crowd and all the age groups in attendance, calling songs accordingly. 2) General musical styles that fit into your personal preferences. 3) What we perform best; songs that help to make us who we are. We don’t work with pre-determined set lists, but we will try to include many of your preferences & favorites. This in addition to you choosing all the material for any formal dances. We’ll also learn two new songs for you that are not a regular part of our repertoire! (formal dances take precedence). Top 40 Song Title Artist Silk Sonic Leave The Door Open The Weeknd Blinding Lights Lady Gaga, Ariana Grande Rain On Me Kygo & Whitney Houston Higher Love Harry Styles Watermelon Sugar Dua Lipa Don't Start Now Lizzo Juice Lizzo Truth Hurts Lil NasX ft. Billy Ray Cyrus Old Town Road Jonas Brothers Sucker The Blackout Allstars / Cardi B I Like It Like That Lady Gaga & Bradley Cooper Shallow Zedd, Maren Morris, Grey The Middle Luis Fonsi Despacito Bruno Mars 24K Magic Bruno Mars That's What I Like Bruno Mars Ft. Cardi B Finesse Camila Cabello Havana Dua Lipa, Calvin Harris One Kiss Dua Lipa New Rules Justin Timberlake Can’t Stop The Feeling Ed Sheeran Shape Of You Shawn Mendes There's Nothing Holding Me Back Clean Bandit Rockabye Niall Horan Slow Hands Sia Cheap Thrills Ariana Grande Thank U, Next Drake One Dance The Chainsmokers Closer -
“What'd I Say” (Parts 1 and 2)--Ray Charles (1959) Added to the National Registry: 2002 Essay by Michael Lydon (Guest Post)*
“What'd I Say” (Parts 1 and 2)--Ray Charles (1959) Added to the National Registry: 2002 Essay by Michael Lydon (guest post)* Original label Here’s a seldom noted but significant fact about the long and distinguished career of Ray Charles: unlike his contemporaries--Chuck Berry, Fats Domino, Little Richard, and Bo Diddley--who all became rock ‘n’ roll stars by making their first records smash hits, he, Brother Ray, the Genius, the High Priest, the biggest star of them all, took the whole decade of the 1950s to emerge, step by steady step, out from the shadows of obscurity into the bright lights of international fame. In early 1950, Ray touched the black “race records” charts with “Baby Let Me Hold Your Hand”; five years later, he crossed over into the white charts with “I Got a Woman” (also a hit for Elvis Presley!) and “Hallelujah I Love Her So.” Next came “Movin’ On,” Ray’s first foray into country music, then “Soul Brothers,” some jazz with vibraphonist Milt Jackson. Having systematically covered the major branches of contemporary popular music, Ray must have thought from time to time, “What more can I do, what do I have left to conquer?” Thoughts like that may well have been crossing Ray’s mind in January 1959 as his touring caravan rolled east from Pittsburgh. At a dance in Brownsville, an industrial town, Ray realized he had run out of things to play that fit the excited mood of the dancers leaping and spinning before the stage. “So I said to the guys,” Ray recalled years later, “’Look, I don’t know where I’m going, so y’all follow me.’ Then I turned to the Raelettes and said, ‘Whatever I say, just repeat after me.’” Ray started a low, bouncy riff on electric piano, the drummer clicked in on his big cymbal, the band fell into an up-tempo groove, and Ray started singing nonsense choruses: “See that gal with a diamond ring, she knows how to shake that thing.” The crowd loved it and, without knowing that a song was being made up on the spot, fell into the improvisatory feeling.