Studio Album Covers 2020

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URIAH HEEP COVER ART - STUDIO ALBUMS …VERY 'EAVY … VERY 'UMBLE 1970 2003 expanded de-luxe edition CD Original Vertigo release Bronze re-release URIAH HEEP 1970 (North American version of … Very ‘Eavy ... Very ‘Umble) 1990 Castle re-release SALISBURY Original Vertigo release URIAH HEEP COVER ART - STUDIO ALBUMS Bronze re-release 2003 expanded de-luxe edition North American version LOOK AT YOURSELF 1971 1998 German “Rock Legend” version North American version URIAH HEEP COVER ART - STUDIO ALBUMS German version 2003 expanded de-luxe edition Russian version DEMONS AND WIZARDS 1972 1986 Castle re-release 2003 expanded de-luxe edition URIAH HEEP COVER ART - STUDIO ALBUMS 2018 Art of the Album Edition SWEET FREEDOM 1973 1991 US Road Racer CD THE MAGICIAN'S BIRTHDAY 1972 2004 expanded de-luxe edition 2003 expanded de-luxe edition URIAH HEEP COVER ART - STUDIO ALBUMS WONDERWORLD 1974 RETURN TO FANTASY 1975 1991 US Road Racer CD 1991 US Road Racer CD 2004 expanded de-luxe edition 2004 expanded de-luxe edition URIAH HEEP COVER ART - STUDIO ALBUMS HIGH AND MIGHTY 1976 2004 expanded de-luxe edition 2004 expanded de-luxe edition INNOCENT VICTIM 1977 FIREFLY 1977 North American version URIAH HEEP COVER ART - STUDIO ALBUMS East German version Five Russian versions URIAH HEEP COVER ART - STUDIO ALBUMS 2004 expanded de-luxe edition 2004 expanded de-luxe edition FALLEN ANGEL 1978 CONQUEST 1980 German release 2004 expanded de-luxe edition URIAH HEEP COVER ART - STUDIO ALBUMS ABOMINOG 1982 RAGING SILENCE 1989 Picture disc version HEAD FIRST 1983 DIFFERENT WORLD 1991 EQUATOR 1985 URIAH HEEP COVER ART - STUDIO ALBUMS SEA OF LIGHT 1995 WAKE THE SLEEPER 2008 CD version LP version INTO THE WILD 2011 SONIC ORIGAMI 1998 OUTSIDER 2014 URIAH HEEP COVER ART - STUDIO ALBUMS LIVING THE DREAM 2018 Box set CD + DVD version .

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Narrative Representations of Gender and Genre Through Lyric, Music, Image, and Staging in Carrie Underwood’S Blown Away Tour
COUNTRY CULTURE AND CROSSOVER: Narrative Representations of Gender and Genre Through Lyric, Music, Image, and Staging in Carrie Underwood’s Blown Away Tour Krisandra Ivings A Thesis Presented In Partial Fulfillment of the Requirement for the Degree Master of Arts in Music with Specialization in Women’s Studies University of Ottawa © Krisandra Ivings, Ottawa, Canada, 2016 Abstract This thesis examines the complex and multi-dimensional narratives presented in the work of mainstream female country artist Carrie Underwood, and how her blending of musical genres (pop, rock, and country) affects the narratives pertaining to gender and sexuality that are told through her musical texts. I interrogate the relationships between and among the domains of music, lyrics, images, and staging in Underwood’s live performances (Blown Away Tour: Live DVD) and related music videos in order to identify how these gendered narratives relate to genre, and more specifically, where these performances and videos adhere to, expand on, or break from country music tropes and traditions. Adopting an interlocking theoretical approach grounded in genre theory, gender theory, narrative theory in the context of popular music, and happiness theory, I examine how, as a female artist in the country music industry, Underwood uses genre-blending to construct complex gendered narratives in her musical texts. Ultimately, I find that in her Blown Away Tour: Live DVD, Underwood uses diverse narrative strategies, sometimes drawing on country tropes, to engage techniques and stylistic influences of several pop and rock styles, and in doing so explores the gender norms of those genres. ii Acknowledgements A great number of people have supported this thesis behind the scenes, whether financially, academically, or emotionally.
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Worldradiohistory.Com › Archive-Billboard › 90S › 1990 › BB
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Heep-Iear€Ver Yqr4c Th€Y W..€ Not Soa€Body to Thc Foulrdc
THEOFFICIAL U I H APPRECIATIONSOCIETY trssue3 EDITORIAL Lat€EtnEw5, TDIIB OFTEs lorh Hrrle rrsJ S'ho're rrrh LhennlrzxJUs Def Einherr r rrh Dresde sa.hs llusic halr llrh H!nno!crCaPitor E ldrk l5rh Erlansei'Ihear.e r6ih uichel la'rrL lTrh St!Lrsarr r,nenorn 13rh Urmcon i PJrr r rfh frtnf I I M!\i' [dr 2o.h llerro.d Ro.h h'aven 22nd fanbura Crosse Fr€ibe1r zrrd Obshau'enHsi' hrG 24Lh Du\scld.fr or ) riir. e.a- 0,".-. t"'r" 'l 23Lh Fesa'sh!r! Lri-'o - lgir Esce i.ld.n PrLLelr1'ai1 lsi chremr! 5i' I o'c'ino lifr rerp t#olt'onot L"riiij$.$3c E- -*,- lRtTlllEN d, '*"...." auDttllc,,,,...."'"' Craz, Austria. Live in 6]i€L&slobesl'D3Fdsl3t oDheumrcdosbeg€3b6' b€!ud! wb sich oedreleie, ztnn - &r jinqEbnzeiudsEhodei dLe &misshawso€JciaBidMck UdahH6!r'*alnchlb6mdhi' l5ndgue|en'e.leqlsWsdaui 6€fusoli'Koleda'Phitan. sbhi6insmxbngldppicnzb* dgl0glansichhamonsdns Me Baxlnd sdtsd B@b Stuv k h.stet spdbw A16'Hd6nw.h$ll6nimXon ohrcnbeliuband'alii]dlerdd. ir;hen sen muB."E6y Lvd", "sroari-, mri'l ch "cy!s/, ,bdy inBacrundwarsmJuyMoF e- Fo.i.Hsz am idod lft sin. siiharbsunden w 6d€r juns *ur warg4ngM.gd| Uriah Heep-iEar€ver yqr4c Th€y w..€ not soa€body to thc foulrdc. m€mb.r was noi c.y rbout out, like win., old just loud, h. put tn somc and v€ry good. I'nr telking wofld€rful solos, Kcybor.d about rh€ U.ieh H€€p show on playc. Phil Lanzon pur o...nts Moodry .vcning tn th€ on th.
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Hallowed PDF-Article Design by Daniel Källmalm Hallowed PDF
Hallowed PDF-article Hallowed PDF-article Design by Daniel Källmalm Design by Daniel Källmalm Hallowed PDF-article Hallowed PDF-article Design by Daniel Källmalm Design by Daniel Källmalm subsequently became Vertigo. During the following months after beginning to work with Bron, the band changed the name to Uriah Heep (the ‘orrible little character from David Copperfield by Charles Dickens who was very much in fa- shion then because of the hundredth year since his death) on suggestion from Bron; they also started using the keyboards in their music. - We’d actually recorded half the first album when we decided that keyboards would be good for our sound, says Box who got this inspi- ration somewhat from being a fan of Vanilla Fudge with their hammond organs with guitars soaring on top. They decided to shape it like that along with David’s vibrato vocals. First they had session keyboardist Colin Woods who was brought in by Bron and it was when they started looking for a permanent keyboardist they found Ken Hensley who had been playing with Newton in The Gods and was now playing the gui- tar for Toe Fat. Hensley explains that he saw the potential to do something different with Uriah Heep which The history of Uriah Heep can Having higher ambitions that their though at first that made it difficult is why he joined the band. And it be dated all the way back to fellow band members Mick Box and getting gigs, eventually we built a was not only Hensley’s talents as a 1967, the year after the English David Byron quit their day jobs to little cult following because of that.
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Ken Hensley Discography
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