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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. -
November/December 2005 Issue 277 Free Now in Our 31St Year
jazz &blues report november/december 2005 issue 277 free now in our 31st year www.jazz-blues.com Sam Cooke American Music Masters Series Rock & Roll Hall of Fame & Museum 31st Annual Holiday Gift Guide November/December 2005 • Issue 277 Rock and Roll Hall of Fame and Museum’s 10th Annual American Music Masters Series “A Change Is Gonna Come: Published by Martin Wahl The Life and Music of Sam Cooke” Communications Rock and Roll Hall of Fame Inductees Aretha Franklin Editor & Founder Bill Wahl and Elvis Costello Headline Main Tribute Concert Layout & Design Bill Wahl The Rock and Roll Hall of Fame and sic for a socially conscientious cause. He recognized both the growing popularity of Operations Jim Martin Museum and Case Western Reserve University will celebrate the legacy of the early folk-rock balladeers and the Pilar Martin Sam Cooke during the Tenth Annual changing political climate in America, us- Contributors American Music Masters Series this ing his own popularity and marketing Michael Braxton, Mark Cole, November. Sam Cooke, considered by savvy to raise the conscience of his lis- Chris Hovan, Nancy Ann Lee, many to be the definitive soul singer and teners with such classics as “Chain Gang” Peanuts, Mark Smith, Duane crossover artist, a model for African- and “A Change is Gonna Come.” In point Verh and Ron Weinstock. American entrepreneurship and one of of fact, the use of “A Change is Gonna Distribution Jason Devine the first performers to use music as a Come” was granted to the Southern Chris- tian Leadership Conference for ICON Distribution tool for social change, was inducted into the Rock and Roll Hall of Fame in the fundraising by Cooke and his manager, Check out our new, updated web inaugural class of 1986. -
BOB DYLAN 1966. Jan. 25. Columbia Recording Studios According to The
BOB DYLAN 1966. Jan. 25. Columbia Recording Studios According to the CD-2 “No Direction Home”, Michael Bloomfield plays the guitar intro and a solo later and Dylan plays the opening solo (his one and only recorded electric solo?) 1. “Leopard-skin Pill-box Hat” (6.24) (take 1) slow 2. “Leopard-skin Pill-box Hat” (3.58) Bloomfield solo 3. “Leopard-skin Pill-box Hat” (3.58) Dylan & Bloomfield guitar solo 4. “Leopard-skin Pill-box Hat” (6.23) extra verse On track (2) there is very fine playing from MB and no guitar solo from Uncle Bob, but a harmonica solo. 1966 3 – LP-2 “BLONDE ON BLONDE” COLUMBIA 1966? 3 – EP “BOB DYLAN” CBS EP 6345 (Portugal) 1987? 3 – CD “BLONDE ON BLONDE” CBS CDCBS 66012 (UK) 546 1992? 3 – CD “BOB DYLAN’S GREATEST HITS 2” COLUMBIA 471243 2 (AUT) 109 2005 1 – CD-2 “NO DIRECTION HOME – THE SOUNDTRACK” THE BOOTLEG SERIES VOL. 7 - COLUMBIA C2K 93937 (US) 529 Alternate take 1 2005 1 – CD-2 “NO DIRECTION HOME – THE SOUNDTRACK” THE BOOTLEG SERIES VOL. 7 – COL 520358-2 (UK) 562 Alternate take 1 ***** Febr. 4.-11, 1966 – The Paul Butterfield Blues Band at Whiskey a Go Go, LA, CA Feb. 25, 1966 – Butterfield Blues Band -- Fillmore ***** THE CHICAGO LOOP 1966 Prod. Bob Crewe and Al Kasha 1,3,4 - Al Kasha 2 Judy Novy, vocals, percussion - Bob Slawson, vocals, rhythm guitar - Barry Goldberg, organ, piano - Carmine Riale, bass - John Siomos, drums - Michael Bloomfield, guitar 1 - John Savanno, guitar, 2-4 1. "(When She Wants Good Lovin') She Comes To Me" (2.49) 1a. -
Legendary Rocker Alice Cooper Comes to the Miller High Life Theatre
ADDRESS PHONE NUMBER WEBSITE 500 W. Kilbourn Avenue, Milwaukee, WI 53203 414.908.6000 MillerHighLifeTheatre.com Legendary Rocker Alice Cooper Comes to the Miller High Life Theatre LIVE AT THE MILLER HIGH LIFE THEATRE SATURDAY | APRIL 4 | 6:30 PM DOORS | 8:00 PM SHOW Following his just-concluded, wildly successful UK arena tour, Rock 'n' Roll Hall of Famer Alice Cooper has announced his Spring 2020 tour plans. He will extend the "Ol' Black Eyes Is Back" tour, which debuted in Summer 2019 to the delight of fans, into the new year, including a stop at the Miller High Life Theatre. In other Alice Cooper news, the artist released his The Breadcrumbs EP, a tribute to some of the garage rock heroes from his hometown Detroit, on September 13 via earMUSIC. Inspired by the city's punk scene in the late '60s and early '70s, the Detroit- born icon returned to his roots and the raw garage sound his fans love. The Bob Ezrin- produced EP consists of six brand new recordings, featuring legendary Detroit Wisconsin Center District owns & operates the Wisconsin Center, UWM Panther Arena & Miller High Life Theatre 1 ADDRESS PHONE NUMBER WEBSITE 500 W. Kilbourn Avenue, Milwaukee, WI 53203 414.908.6000 MillerHighLifeTheatre.com musicians, including Johnny "Bee" Badanjek from the Detroit Wheels, Grand Funk's Mark Farner, and MC5's Wayne Kramer. It was recorded at Rust Belt Studios in Detroit. The opener "Detroit City 2020" is an updated rewrite of "Detroit City" from 2003's The Eyes of Alice Cooper and it sets the tone for the EP. -
Master Document National Register of Historic Places Nomination Form
Master Document National Register of Historic Places Nomination Form The Burgess-Osborne Memorial Auditorium 1701 Wabash Avenue Mattoon, Illinois Prepared by Stephen A. Thompson Intrepid Consulting Services, Inc. April 2018 Executive Summary The following document is the master National Register of Historic Places (NRHP) nomination form submitted in a draft configuration to the Illinois State Historic Preservation Officer on 04 August 2017 for the 1953 Burgess-Osborne Memorial Auditorium (the Burgess) located at 1701 Wabash Avenue, Mattoon, Illinois. This NRHP document addresses the social and architectural significance of the Burgess and is an expansion of the 2013 Coles County List of Significant Places document generated for local landmarking of the Burgess. A related social sub-context addressed in detail in Appendix A of Section 8 is the role the Burgess played in the regional 1950s and 1960s pop music culture, with emphasis on the teen dances/concerts held at the facility and the bands that played there. The research of the associated contexts and the preparation of the nomination form were undertaken by Stephen A. Thompson of Intrepid Consulting Services, Inc., Carolyn Cloyd and Joyce St. Michael, members of the Coles County Historic Preservation Advisory Council, assisted with research and preparation of the National Register documentation. The Coles County Historic Preservation Advisory Council is an historic preservation advisory body under the Coles County Regional Planning & Development Commission, which reports to the Coles County Board. After thorough research and evaluation it has been determined that the Burgess is eligible for listing on the NRHP in that it: 1. Is locally significant under NRHP Criterion A, “…events that have made a significant contribution to the broad patterns of our history.” 2. -
Detroit Rock & Roll by Ben Edmonds for Our Purposes, The
"KICK OUT THE JAMS!" Detroit Rock & Roll by Ben Edmonds For our purposes, the story of Detroit rock & roll begins on September 3, 1948, when a little-known local performer named John Lee Hooker entered United Sound Studios for his first recording session. Rock & roll was still an obscure rhythm & blues catchphrase, certainly not yet a musical genre, and Hooker's career trajectory had been that of the standard-issue bluesman. A native of the Mississippi Delta, he had drifted north for the same reason that eastern Europeans and Kentucky hillbillies, Greeks and Poles and Arabs and Asians and Mexicans had all been migrating toward Michigan in waves for the first half of the 20th Century. "The Motor City it was then, with the factories and everything, and the money was flowing," Hooker told biographer Charles Shaar Murray." All the cars were being built there. Detroit was the city then. Work, work, work, work. Plenty work, good wages, good money at that time."1 He worked many of those factories, Ford and General Motors among them, and at night he plied the craft of the bluesman in bars, social clubs and at house parties. But John Lee Hooker was no ordinary bluesman, and the song he cut at the tail of his first session, "Boogie Chillen," was no ordinary blues. Accompanied only by the stomp of his right foot, his acoustic guitar hammered an insistent pattern, partially based on boogie-woogie piano, that Hooker said he learned from his stepfather back in Mississippi as "country boogie." Informed by the urgency and relentless drive of his Detroit assembly line experiences, John Lee's urban guitar boogie would become a signature color on the rock & roll palette, as readily identifiable as Bo Diddley's beat or Chuck Berry's ringing chords. -
Paul Kramer Was Born in Detroit “Rock City!” He Has Been Playing Guitar for Over Three Decades
Paul Kramer was born in Detroit “Rock City!” He has been playing guitar for over three decades. Christened “Detroit’s Best Rock Guitarist,” he defeated over 1,000 contestants in the state inaugural competition in 1989. In the last 19 years, Paul has played at over 2,000 music workshops & trade show clinics for Korg, Marshall, and Vox. Chances are, you’ve heard Paul play guitar on Utube and car commercial or sports telecasts. He’s worked on projects for some of the largest scoring and film production houses in Detroit. His previous performance resume includes countless studio and live appearances with artists including: • Mark Farner (Grand Funk); • Rob Tyner (MC5); • Ted Nugent; • Derek St. Holmes; • Stu Hamm; • Billy Sheehan (Mr.Big); • Phil Keaggy; • Buddy Guy, • Peter Tork (The Monkees) and • Gary Shea (Alcatrazz & New England). Formally trained in Classical and Jazz guitar, Paul taught privately for 20 years. Among his thousands of students was John Lowery (a.k.a. John5). Paul had two successful Detroit rock bands, "Pleezer and CODA," in the late 80's and early 90's. During the 90s, he was the senior Guitar Product Specialist for Korg Inc., displaying his extraordinary playing abilities at NAMM conventions and in-store appearances around the globe. For over six years, Paul served as Product Manager of VOX Amplification, Korg ToneWorks Effects, and Tuner products. Paul has released two solo instrumental CD's, "Seasons in 1996" and "The Red Planet in 2000." He is currently in Detroit finishing a new CD project, "Plain Vu" with Sponge Vocalist Vinnie, Joe Satriani drummer Jeff Campitelli, bass guitarist Richard (Guido) Milligan, and WSG Jimmie Bones on keyboards. -
Brevard Live July 2018
Brevard Live July 2018 - 1 2 - Brevard Live July 2018 Brevard Live July 2018 - 3 4 - Brevard Live July 2018 Brevard Live July 2018 - 5 6 - Brevard Live July 2018 Content July 2018 FEATURES JAM NIGHT Columns FUNPIPE Go visit the RKB jam next chance you Hard rock band FunPipe has a legend get at the world famous Lou’s Blues. No CD Review that lasts a decade. Brevard Live talked matter if you are a musician or a music by Rob Pedrick to Paul Bender about the ups and downs fan, it’s the best Tuesday night you can 21 right before the tragedy hit: drummer have on this town. and sound man Tom Farrell committed Page 37 Charles Van Riper suidice. What to do? We decided not to Political Satire 22 The Summits look away but to address the subject. PUB AMERICANA Page 14 Is it possible that Pub Americana is not Calendars your average tourist pub in Cocoa Vil- Live Entertainment, BONNAROO lage? The answer is IT IS NOT. Every- Concerts, Festivals Matthew Bretz attends the world’s larg- thing is upscale but the prices, and when 25 est festival every year and gives us the you meet the owner Patrick Evangelista run-down about the newest and the most and Chef Raph you understand why. Old Crow Medicine Show exciting music on stage Page 42 32 Page 16 by Matt Bretz OLE FIRE GRILL Spotlight On A TOUCH OF GRAY It’s been said that if you have enough by Anita Brix For the last nine months A Touch of friends, you can open a bar. -
500 Songs That Shaped Rock
500 Songs That Shaped Rock James Henke, chief curator for the Rock and Roll Hall of Fame, with the help of music writers and critics, selected 500 songs (not only rock songs) that they belie e ha e been most influential in shaping rock and roll! "he list is alphabetical by artist! A AC/DC, #$ack in $lack% AC/DC, #Highway to Hell% Roy Acuff and the Smoky Mountain Boys, #&abash 'annonball% Aerosmith, #(ream )n% Aerosmith, #"oys in the *ttic% Afrika Bambaataa, #+lanet Rock% The Allman Brothers Band, #Ramblin, -an% The Allman Brothers Band, #&hipping +ost% The Animals, #"he House of the Rising .un% The Animals, #&e /otta /et )ut of "his +lace% Louis Armstrong, #&est 0nd $lues% Arrested De elo!ment, #"ennessee% B The B"#$%s, #Rock 1obster% 1 of 19 The B-#$%s La&ern Baker, #Jim (andy% 'ank Ballard and the Midnighters, #&ork &ith -e *nnie% The Band, #"he 2ight "hey (ro e )ld (i3ie (own% The Band, #"he &eight% Beach Boys, #'alifornia /irls% Beach Boys, #(on,t &orry $aby% Beach Boys, #/od )nly 4nows% Beach Boys, #/ood 5ibrations% Beach Boys, #.urfin, 6!.!*!% The Beastie Boys, #(7ou /otta) Fight for 7our Right (to +arty)% The Beatles, #* (ay in the 1ife% The Beatles, #Help8% The Beatles, #Hey Jude% The Beatles, #9 &ant to Hold 7our Hand% The Beatles, #2orwegian &ood% The Beatles, #.trawberry Fields Fore er% The Beatles, #7esterday% The Beau Brummels, #1augh 1augh% Beck, #1oser% (eff Beck )rou!, #+lynth (&ater (own the (rain)% The Bee )ees, #.tayin, *li e% Archie Bell and the Drells, #"ighten 6p% Chuck Berry, #Johnny $! /oode% 2 of 19 Chuck Berry, #-aybelline% Chuck Berry, #Rock and Roll -usic% The Big Bo!!er, #'hantilly 1ace% Big Brother and the 'olding Com!any, #+iece of -y Heart% Big Star, #.eptember /urls% Black Sabbath, #9ron -an% Black Sabbath, #+aranoid% Bobby Blue Bland, #"urn )n 7our 1o e 1ight% Blondie, #Heart of /lass% *urtis Blo+, #"he $reaks% )ary ,-S- Bonds, #:uarter to "hree% Booker T- . -
The Pretenders
n that fractured musical landscape of seditious invective on prime time British 1979-80, it took the Pretenders to television and spearheaded what came to provide the missing link between be referred to as rock’s “W inter of the iconography and idealism of Hate.” Hynde didn’t buy into that par big sixties guitar rock and the de- ticular cultural revolution, despite hav constructed nihilism of the punk- ing palled around with John Lydon and ish mid- and late seventies. They united Sid Vicious and having worked behind the I counter at Sex, Malcolm McLaren and Vivi mainstream FM rockers, self-conscious new wavers, and the pierced, tattooed toughs that enne Westwood’s shop on King’s Road - one still uneasily roamed the earth like vestigial of the cradles of first-wave punk civiliza body parts as the M e Generation tottered tion. Instead, Hynde insisted, “I’m not a to an unsteady start. punk, I’m a musician.” One whose roots W hat is probably most significant is and traditions stretched back at least to that it took a single woman, born and Mitch Ryder and the Detroit Wheels as raised in one of the grittier bowels of the well as Iggy Pop. American Midwest, who answered an urgent Maybe you should blame her uncompro call to travel to the U.K. for her own rock 5 ? mising aesthetic on that heady triumvirate of roll baptism. She’d been strangely spurred Marc Bolan, Jeff Beck, and Keith Richards, on after seeing a picture of Iggy Pop on the whom the teenage Hynde, already a self- cover o f Kfew Musical Express. -
James Montgomery – Jamesmontgomery.Com
James Montgomery – jamesmontgomery.com When blues legend James Montgomery plays the harmonica, he "brings it on home". Whether it's recording with Kid Rock, sitting in with Gregg Allman, or fronting his hot band of thirty years, Montgomery plays with authority. While growing up in Detroit he learned first- hand from the masters - James Cotton, John Lee Hooker, and Jr. Wells - at the legendary "Chessmate." Over the years, he's carried on in the tradition and continues to be a vital presence in Blues as one of the most dynamic performers on the scene. In 1970, while attending Boston University, Montgomery formed the James Montgomery Band. His inimitable (oh yeah, he majored in English) harmonica playing combined with his incredibly energetic live shows led to the band's quick ascension on the New England music scene. Within two years, the James Montgomery band was among the hottest acts in Boston along with J. Geils and Aerosmith, and they were quickly signed to a multi-album deal with Capricorn Records. Since that time, James has recorded six albums. His first, "First Time Out" has been remastered and re-released by MRG/Capricorn. Other include "James Montgomery Band" on Island Records which was number nine on Billboard's national playlist, "Duck Fever" with members of the David Letterman Band, "Live Trax," with the Uptown Horns (the Rolling Stones' horn section), and his release on Tone-Cool, "The Oven Is On." Montgomery has toured with many major artists, including Aerosmith, Bonnie Raitt, Bruce Springsteen, the Allman Brothers, Steve Miller and others. He has jammed on stage with B.B.King, Buddy Guy, John Lee Hooker, Jr. -
Detroit Reading List Code Indicated Below the Book's URL)
Receive a discount on select titles (discount AUPresses Detroit Reading List code indicated below the book's URL). Manufacturing Decline: How Racism and the Conservative Movement Crush the American Rust Belt Jason Hackworth Columbia University Press, 2019 How the conservative movement took advantage of rust belt troubles. https://cup.columbia.edu/book/manufacturing-decline/9780231193733 Discount code: CUP30 (30% discount) Whose Detroit?: Politics, Labor, and Race in a Modern American City Heather Ann Thompson Cornell University Press, 2017 In Whose Detroit?, Heather Ann Thompson focuses in detail on the African American struggles for full equality and equal justice under the law that shaped the Motor City during the 1960s and 1970s. Even after Great Society liberals committed themselves to improving conditions in Detroit, Thompson argues, poverty and police brutality continued to plague both neighborhoods and workplaces. Frustration with entrenched discrimination and the lack of meaningful remedies not only led black residents to erupt in the infamous urban uprising of 1967, but it also sparked myriad grassroots challenges to postwar liberalism in the wake of that rebellion. With deft attention to the historical background and to the dramatic struggles of Detroit's residents, and with a new prologue that argues for the ways in which the War on Crime and mass incarceration also devastated the Motor City over time, Thompson has written a biography of an entire nation at a time of crisis. http://www.cornellpress.cornell.edu/book/?GCOI=80140100589110 Now Is the Time! Detroit Black Politics and Grassroots Activism Todd C. Shaw Duke University Press, 2009 In Now Is the Time! Todd C.