Shocking Blue at Home Vinyl
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Pandoras Box CD-List 06-2006 Short
Pandoras Box CD-list 06-2006 short.xls Form ARTIST TITLE year No Label price CD 2066 & THEN Reflections !! 1971 SB 025 Second Battle 15,00 € CD 3 HUEREL 3 HUEREL 1970-75 WPC6 8462 World Psychedelic 17,00 € CD 3 HUEREL Huerel Arisivi 1970-75 WPC6 8463 World Psychedelic 17,00 € CD 3SPEED AUTOMATIC no man's land 2004 SA 333 Nasoni 15,00 € CD 49 th PARALLELL 49 th PARALLELL 1969 Flashback 008 Flashback 11,90 € CD 49TH PARALLEL 49TH PARALLEL 1969 PACELN 48 Lion / Pacemaker 17,90 € CD 50 FOOT HOSE Cauldron 1968 RRCD 141 Radioactive 14,90 € CD 7 th TEMPLE Under the burning sun 1978 RRCD 084 Radioactive 14,90 € CD A - AUSTR Music from holy Ground 1970 KSG 014 Kissing Spell 19,95 € CD A BREATH OF FRESH AIR A BREATH OF FRESH AIR 196 RRCD 076 Radioactive 14,90 € CD A CID SYMPHONY FISCHBACH AND EWING - (21966CD) -67 GF-135 Gear Fab 14,90 € CD A FOOT IN COLDWATER A Foot in coldwater 1972 AGEK-2158 Unidisc 15,00 € CD A FOOT IN COLDWATER All around us 1973 AGEK-2160 Unidisc 15,00 € CD A FOOT IN COLDWATER best of - Vol. 1 1973 BEBBD 25 Bei 9,95 € CD A FOOT IN COLDWATER best of - Vol. 2 1973 BEBBD 26 Bei 9,95 € CD A FOOT IN COLDWATER The second foot in coldwater 1973 AGEK-2159 Unidisc 15,00 € CD A FOOT IN COLDWATER best of - (2CD) 1972-73 AGEK2-2161 Unidisc 17,90 € CD A JOINT EFFORT FINAL EFFORT 1968 RRCD 153 Radioactive 14,90 € CD A PASSING FANCY A Passing Fancy 1968 FB 11 Flashback 15,00 € CD A PASSING FANCY A Passing Fancy - (Digip.) 1968 PACE-034 Pacemaker 15,90 € CD AARDVARK Aardvark 1970 SRMC 0056 Si-Wan 19,95 € CD AARDVARK AARDVARK - (lim. -
Full Music Credits
Music Supervisor Chris Gough Mana Music Mushroom Licensing Ann-Marie Meadows Music Mixer Robin Grey Alan Eaton Studios Original Music Recorded at Hot House - Craig Harnath Original Music Mix Ross Cockle FX & Music Editor Craig Carter Original Music Composed by Martin Lubran David Bowers "Jackson" (Wheeler/Rodgers) EMI Music Publishing Australia, Performed by Catherine Wearne and Andrew Travis, Produced by Jim Bowman, Recorded at Electric Avenue "Don't It Get You Down" (Kennedy/Palmer/Jones) Mushroom Music, Performed by Dead Star, Courtesy of Mushroom Records "Goldfinger" (Wheeler) PolyGram Publishing, Performed by Ash, Courtesy of Infectious/Mushroom Records "Fun For Me" (Brydon/Murphy) Chrysalis Music/Mushroom Music, Performed by Moloko Courtesy of Echo/Liberation "Puppy Love" (Anka) Chrysalis Music/Mushroom Music Performed by Banana Oil, Courtesy of Mushroom Records "Cruise Control" (Matthews/Lawry/Nevison/Fell/Sweeny/ McDonald) Flying Nun Music/Mushroom Music Performed by Headless Chickens Courtesy of Flying Music/Mushroom Records "Help Yourself" (Donida/Mogol/Fishman) Mushroom Music Performed by Tom Jones, Courtesy of PolyGram "No Reason" (Salmon/Perkins) PolyGram Publishing, Performed by Beasts of Bourbon, Courtesy of Red Eye/Polydor Records "Lemonsuck" (Handley) Mushroom Music, Performed by Pollyanna, Courtesy of Bark/Mushroom Records "So Long Marianne" (Cohen) Chrysalis Music/Mushroom Music Performed by The Stone Cold Boners & Hugo Weaving "Rock and Roll" (Reed) Oakfield Avenue/EMI Music Ltd Performed by The Stone Cold Boners & Hugo -
Lab Data.Pages
Day 1 The Smiths Alternative Rock 1 6:48 Death Day Dark Wave 1 4:56 The KVB Dark Wave 1 4:11 Suuns Dark Wave 6 35:00 Tropic of Cancer Dark Wave 2 8:09 DIIV Indie Rock 1 3:43 HTRK Indie Rock 9 40:35 TV On The Radio Indie Rock 1 3:26 Warpaint Indie Rock 19 110:47 Joy Division Post-Punk 1 3:54 Lebanon Hanover Post-Punk 1 4:53 My Bloody Valentine Post-Punk 1 6:59 The Soft Moon Post-Punk 1 3:14 Sonic Youth Post-Punk 1 4:08 18+ R&B 6 21:46 Massive Attack Trip Hop 2 11:41 Trip-Hop 11:41 Indie Rock 158:31 R&B 21:46 Post-Punk 22:15 Dark Wave 52:16 Alternative Rock 6:48 Day 2 Blonde Redhead Alternative Rock 1 5:19 Mazzy Star Alternative Rock 1 4:51 Pixies Alternative Rock 1 3:31 Radiohead Alternative Rock 1 3:54 The Smashing Alternative Rock 1 4:26 Pumpkins The Stone Roses Alternative Rock 1 4:53 Alabama Shakes Blues Rock 3 12:05 Suuns Dark Wave 2 9:37 Tropic of Cancer Dark Wave 1 3:48 Com Truise Electronic 2 7:29 Les Sins Electronic 1 5:18 A Tribe Called Quest Hip Hop 1 4:04 Best Coast Indie Pop 1 2:07 The Drums Indie Pop 2 6:48 Future Islands Indie Pop 1 3:46 The Go! Team Indie Pop 1 4:15 Mr Twin Sister Indie Pop 3 12:27 Toro y Moi Indie Pop 1 2:28 Twin Sister Indie Pop 2 7:21 Washed Out Indie Pop 1 3:15 The xx Indie Pop 1 2:57 Blood Orange Indie Rock 6 27:34 Cherry Glazerr Indie Rock 6 21:14 Deerhunter Indie Rock 2 11:42 Destroyer Indie Rock 1 6:18 DIIV Indie Rock 1 3:33 Kurt Vile Indie Rock 1 6:19 Real Estate Indie Rock 2 10:38 The Soft Pack Indie Rock 1 3:52 Warpaint Indie Rock 1 4:45 The Jesus and Mary Post-Punk 1 3:02 Chain Joy Division Post-Punk -
Zhuk Outcover.Indd
The Carl Beck Papers in Russian & East European Studies Sergei I. Zhuk Number 1906 Popular Culture, Identity, and Soviet Youth in Dniepropetrovsk, 1959–84 The Carl Beck Papers in Russian & East European Studies Number 1906 Sergei I. Zhuk Popular Culture, Identity, and Soviet Youth in Dniepropetrovsk, 1959–84 Sergei I. Zhuk is Associate Professor of Russian and East European History at Ball State University. His paper is part of a new research project, “The West in the ‘Closed City’: Cultural Consumption, Identities, and Ideology of Late Socialism in Soviet Ukraine, 1964–84.” Formerly a Professor of American History at Dniepropetrovsk University in Ukraine, he completed his doctorate degree in Russian History at the Johns Hopkins University in 2002 and recently published Russia’s Lost Reformation: Peasants, Millennialism, and Radical Sects in Southern Russia and Ukraine, 1830–1917 (2004). No. 1906, June 2008 © 2008 by The Center for Russian and East European Studies, a program of the University Center for International Studies, University of Pittsburgh ISSN 0889-275X Image from cover: Rock performance by Dniepriane near the main building of Dniepropetrovsk University, August 31, 1980. Photograph taken by author. The Carl Beck Papers Editors: William Chase, Bob Donnorummo, Ronald H. Linden Managing Editor: Eileen O’Malley Editorial Assistant: Vera Dorosh Sebulsky Submissions to The Carl Beck Papers are welcome. Manuscripts must be in English, double-spaced throughout, and between 40 and 90 pages in length. Acceptance is based on anonymous review. Mail submissions to: Editor, The Carl Beck Papers, Center for Russian and East European Studies, 4400 Wesley W. Posvar Hall, University of Pittsburgh, Pittsburgh, PA 15260. -
Rock Music Is a Genre of Popular Music That Entered the Mainstream in the 1950S
Rock music is a genre of popular music that entered the mainstream in the 1950s. It has its roots in 1940s and 1950s rock and roll, rhythm and blues, country music and also drew on folk music, jazz and classical music. The sound of rock often revolves around the electric guitar, a back beat laid down by a rhythm section of electric bass guitar, drums, and keyboard instruments such as Hammond organ, piano, or, since the 1970s, synthesizers. Along with the guitar or keyboards, saxophone and blues-style harmonica are sometimes used as soloing instruments. In its "purest form", it "has three chords, a strong, insistent back beat, and a catchy melody."[1] In the late 1960s and early 1970s, rock music developed different subgenres. When it was blended with folk music it created folk rock, with blues to create blues-rock and with jazz, to create jazz-rock fusion. In the 1970s, rock incorporated influences from soul, funk, and Latin music. Also in the 1970s, rock developed a number of subgenres, such as soft rock, glam rock, heavy metal, hard rock, progressive rock, and punk rock. Rock subgenres that emerged in the 1980s included new wave, hardcore punk and alternative rock. In the 1990s, rock subgenres included grunge, Britpop, indie rock, and nu metal. A group of musicians specializing in rock music is called a rock band or rock group. Many rock groups consist of an electric guitarist, lead singer, bass guitarist, and a drummer, forming a quartet. Some groups omit one or more of these roles or utilize a lead singer who plays an instrument while singing, sometimes forming a trio or duo; others include additional musicians such as one or two rhythm guitarists or a keyboardist. -
American Songbook
Shocking Blue in 1970 American Songbook ‘Het nummer Venus zou het drie keer tot nummer één in de Venus Amerikaanse hitparade schoppen’ In American Songbook nemen we evergreens, muzikale iconen en songs, Kijkend naar een goed gesprek met Shocking Blue zangeres Mariska Veres is teruggaan in de die een tijdgeest belichamen onder de loep. Wie op een roadtrip door de tijd naar terug in de tijd. Een broodnuchtere vrouw, met een dode kat met stroboscoopogen Verenigde Staten een rockstation opzoekt, heeft kans de horizon tegemoet om haar nek, wordt geïnterviewd door een ontwapenende jongeman. Deze vraagsteller te rijden onder begeleiding van de stem van Mariska Veres met dat blijkt geen oor te hebben voor primeurs. Pri- meurs gedeeld door een beschonken drummer wereldberoemde deuntje: Venus. die denkt dat hij zijn mond voorbijpraat, maar zijn geheimen mixt alsof het cocktails zijn. Het Een nummer dat zelfs driemaal op is 1988. Welkom in De (wondere) Wereld van Boudewijn Büch. nummer één in de Amerikaanse Trut hitlijsten zou prijken. De drie hoofdrolspelers in bovenstaande aflevering van het VARA-programma zijn TEKST ROBERT DE KONING (JOURNEYLISM.NL) inmiddels overleden. Net als de tijd waarover ze FOTOGRAFIE WIKIMEDIA COMMONS praten. Een tijd waarin plagiaat inspiratie werd genoemd. Waarin de manager zonder blikken of blozen over de zangeres van een wereldhit kon De single Venus is echt stukgedraaid zeggen “Als Mariska maar taartjes kan kopen, 72 ZOMER 2019 AmericanS thee kan drinken en kan borduren, dan is ze wel tevreden.” Een tijd waarin je na een maanden- lange tour door de VS weer thuis bij je ouwelui in de pan keek om te zien wat de pot schaftte: “Ik dronk alleen thee en jus d’orange en kon niet tegen drugs. -
Sooloos Collections: Advanced Guide
Sooloos Collections: Advanced Guide Sooloos Collectiions: Advanced Guide Contents Introduction ...........................................................................................................................................................3 Organising and Using a Sooloos Collection ...........................................................................................................4 Working with Sets ..................................................................................................................................................5 Organising through Naming ..................................................................................................................................7 Album Detail ....................................................................................................................................................... 11 Finding Content .................................................................................................................................................. 12 Explore ............................................................................................................................................................ 12 Search ............................................................................................................................................................. 14 Focus .............................................................................................................................................................. -
Singles 1970 to 1983
AUSTRALIAN RECORD LABELS PHILIPS–PHONOGRAM 7”, EP’s and 12” singles 1970 to 1983 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, APRIL 2019 PHILIPS-PHONOGRAM, 1970-83 2001 POLYDOR, ROCKY ROAD, JET 2001 007 SYMPATHY / MOONSHINE MARY STEVE ROWLAND & FAMILY DOGG 5.70 2001 072 SPILL THE WINE / MAGIC MOUNTAIN ERIC BURDON & WAR 8.70 2001 073 BACK HOME / THIS IS THE TIME OF THE YEAR GOLDEN EARRING 10.70 2001 096 AFTER MIDNIGHT / EASY NOW ERIC CLAPTON 10.70 2001 112 CAROLINA IN MY MIND / IF I LIVE CRYSTAL MANSION 11.70 2001 120 MAMA / A MOTHER’S TEARS HEINTJE 3.71 2001 122 HEAVY MAKES YOU HAPPY / GIVE ‘EM A HAND BOBBY BLOOM 1.71 2001 127 I DIG EVERYTHING ABOUT YOU / LOVE HAS GOT A HOLD ON ME THE MOB 1.71 2001 134 HOUSE OF THE KING / BLACK BEAUTY FOCUS 3.71 2001 135 HOLY, HOLY LIFE / JESSICA GOLDEN EARING 4.71 2001 140 MAKE ME HAPPY / THIS THING I’VE GOTTEN INTO BOBBY BLOOM 4.71 2001 163 SOUL POWER (PT.1) / (PTS.2 & 3) JAMES BROWN 4.71 2001 164 MIXED UP GUY / LOVED YOU DARLIN’ FROM THE VERY START JOEY SCARBURY 3.71 2001 172 LAYLA / I AM YOURS DEREK AND THE DOMINOS 7.72 2001 203 HOT PANTS (PT.1) / (PT.2) JAMES BROWN 10.71 2001 206 MONEY / GIVE IT TO ME THE MOB 7.71 2001 215 BLOSSOM LADY / IS THIS A DREAM SHOCKING BLUE 10.71 2001 223 MAKE IT FUNKY (PART 1) / (PART 2) JAMES BROWN 11.71 2001 233 I’VE GOT YOU ON MY MIND / GIVE ME YOUR LOVE CAROLYN DAYE LTD. -
Record Dreams Catalog
RECORD DREAMS 50 Hallucinations and Visions of Rare and Strange Vinyl Vinyl, to: vb. A neologism that describes the process of immersing yourself in an antique playback format, often to the point of obsession - i.e. I’m going to vinyl at Utrecht, I may be gone a long time. Or: I vinyled so hard that my bank balance has gone up the wazoo. The end result of vinyling is a record collection, which is defned as a bad idea (hoarding, duplicating, upgrading) often turned into a good idea (a saleable archive). If you’re reading this, you’ve gone down the rabbit hole like the rest of us. What is record collecting? Is it a doomed yet psychologically powerful wish to recapture that frst thrill of adolescent recognition or is it a quite understandable impulse to preserve and enjoy totemic artefacts from the frst - perhaps the only - great age of a truly mass art form, a mass youth culture? Fingering a particularly juicy 45 by the Stooges, Sweet or Sylvester, you could be forgiven for answering: fuck it, let’s boogie! But, you know, you’re here and so are we so, to quote Double Dee and Steinski, what does it all mean? Are you looking for - to take a few possibles - Kate Bush picture discs, early 80s Japanese synth on the Vanity label, European Led Zeppelin 45’s (because of course they did not deign to release singles in the UK), or vastly overpriced and not so good druggy LPs from the psychedelic fatso’s stall (Rainbow Ffolly, we salute you)? Or are you just drifting, browsing, going where the mood and the vinyl takes you? That’s where Utrecht scores. -
Distant Music: Recorded Music, Manners, and American Identity Jacklyn Attaway
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 Distant Music: Recorded Music, Manners, and American Identity Jacklyn Attaway Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES DISTANT MUSIC: RECORDED MUSIC, MANNERS, AND AMERICAN IDENTITY By JACKLYN ATTAWAY A Thesis submitted to the American and Florida Studies Program in the Department of Humanities in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Fall Semester, 2012 Jacklyn Attaway defended this thesis on November 5, 2012 The members of the supervisory committee were: Barry J. Faulk Professor Directing Thesis Neil Jumonville Committee Member Jerrilyn McGregory Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii I dedicate this to Stuart Fletcher, a true heir-ethnographer who exposed me to the deepest wells of cultural memory in the recorded music format; Shawn Christy, for perking my interest in the musicians who exhibited the hauntological aesthetic effect; and to all the members of WVFS Tallahassee, 89.7 FM—without V89, I probably would not have ever written about music. Thank you all so much for the knowledge, love, and support. iii ACKNOWLEDGEMENTS I would like to acknowledge Dr. Barry J. Faulk, Dr. Neil Jumonville, Dr. Jerrilyn McGregory, Leon Anderson, Dr. John Fenstermaker, Peggy Wright-Cleveland, Ben Yadon, Audrey Langham, Andrew Childs, Micah Vandegrift, Nicholas Yanes, Mara Ginnane, Jason Gibson, Stuart Fletcher, Dr. -
1 in De Jaren 60 Was Het Hitwezen Vol Met Beatles En Rolling Stones
In de jaren 60 was het hitwezen vol met Beatles en Rolling Stones, maar ook veel andere nieuwe bandjes en artiesten. Muziek voor en door jonge mensen die zich daarmee openlijk afzetten tegen de maatschappij en hun ouders en op die manier iets voor zichzelf hadden gecreëerd. Het waren roerige jaren met talloze muzikale hoogtepunten! 1 De overgangsperiode Nadat de eerste wilde rockers overleden of tijdelijk Soul uit de schijnwerpers zijn, brak er een periode van De meest opzwepende en broeierige soulmuziek betrekkelijke rust aan in de popgeschiedenis. werd gemaakt in het zuiden van de Verenigde De jaren tot aan de wereldwijde doorbraak van Staten, met name in Memphis en omstreken, The Beatles en The Rolling Stones in 1963 zijn waar onder meer in de studio’s van Stax en niet of nauwelijks beschreven. Muscle Shoals legendarische soulsessies plaatsvonden. In steden als Detroit (Motown) en Toch was er nog steeds sprake van popmuziek. Philadelphia (Philly Sound) ontwikkelden zich Voorbeelden uit deze overgangsperiode zijn: de commerciëlere varianten. De jaren 60 en 70 ballades van Roy Orbison, de soulmuziek van vormden de ‘Gouden Eeuw’ van deze traditionele Sam Cooke en de samenzang van The Drifters. soulvormen. Wel heeft de Rock & Roll met de afwezigheid van Een kenmerk van de Memphissoul is dat deze de pioniers plaats moeten maken voor de twee dicht bij de blues en de gospel staat. De nieuwe fenomenen: het tieneridool en de belangrijkste artiesten zijn: Aretha Franklin, meidengroepen. Wilson Picket en Otis Redding. In Europa trilde de door Elvis, Little Richard en Chuck Berry veroorzaakte schokgolf nog lang na. -
Kim Simmonds & Savoy Brown
APRIL 2-8, 2015 THE STORY OF FRANKIE VALLI & THE FOFOURUR SEASONS Photos (Broadway cast): Joan Marcus and Chris Callis "QSJMt&NCBTTZ5IFBUSF 800-745- 3000tUJDLFUNBTUFSDPN %JTDPVOUTBWBJMBCMFGPSHSPVQTPG POTFMFDUQFSGPSNBODFT Your town. Your voice. 2 ----------------------------------------------------------------------------------- www.whatzup.com ------------------------------------------------------------------April 2, 2015 whatzup Volume 19, Number 33 hether it feels like it or not, spring is officially here, and with it comes warmer temps, maybe some rain, probably a lot of mud and some things that more than a few of us really and truly love: Wbaseball for one (the TinCaps’ season is almost upon us); Record Store Day for another (see Nick Braun’s Out & About column); and, finally, plenty of opportunities to see some good, live music (Sol Fest, Rock the Plaza and other Fort Wayne traditions are just around the corner). Among the things to look forward to are the subjects of this week’s fea- UPCOMING EVENTS tures: British blues from the legendary Kim Simmonds and Savoy Brown (see page 4) and non-stop jams from one of Indy’s favorite party bands, Toy Factory (see page 5). There are other gems inside this issue. Jen Poiry-Prough profiles Stuart Hepler, the lead in the Civic Theatre’s production of 33 Variations (page Friday, April 10 • 8pm • $20-$40 6), and Mark Everetts, recording studio manager for the Music Technology Department at the University of Saint Francis, analyzes the impact of the Photo: Jeremy Daniel KIM SIMMONDS recent infringement case involving the song “Blurred Lines.” It’s a must- read for any songwriter out there. April 14-19 | 7:30p.m.