Neil Youngs Harvest Free
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Devon Allman, Son of Gregg Allman of the Allman Brothers Band, Leads His Band Called Honey Tribe and He Is a Member of Royal Southern Brotherhood As Well
Singer/guitarist Devon Allman, son of Gregg Allman of the Allman Brothers Band, leads his band called Honey Tribe and he is a member of Royal Southern Brotherhood as well. Now Devon has recorded his first solo album that is made up songs that are written about his personal life along with one Tom Petty cover song. The 2013 International Blues Challenge was held in Memphis from January 29 – February 2. Ghost Town Blues Band from Memphis did not win, but they did make it to the top ten. They have released two excellent albums and can be seen performing at many local venues. Former Memphian Little G. Weevil won the solo/duo category and best guitarist in that category at the IBC. His excellent album The Teaser is a great example of why he won. Boz Scaggs came to Memphis to record his new album titled, surprisingly enough, Memphis. Most surprising is how well he handles the soul and blues songs on Memphis. Devon Allman – Turquoise Devon Allman is Gregg Allman’s son, but he grew up with his mom in Corpus Christi, Texas, away from the rock & roll lifestyle. He didn’t even meet his dad until he was a teenager, but they are now very close. While Devon was influenced by The Allman Brothers, he was also influenced by a myriad of other musicians and styles of music, so he really doesn’t sound much like The Allman Brothers. Devon has his own unique sound, both in his guitar playing and his singing. Some have tried to compare him to his uncle Duane, but aside from both having blonde hair and favoring Les Paul guitars, there aren’t a lot of similarities. -
Steve Cropper | Primary Wave Music
STEVE CROPPER facebook.com/stevecropper twitter.com/officialcropper Image not found or type unknown youtube.com/channel/UCQk6gXkhbUNnhgXHaARGskg playitsteve.com en.wikipedia.org/wiki/Steve_Cropper open.spotify.com/artist/1gLCO8HDtmhp1eWmGcPl8S If Yankee Stadium is “the house that Babe Ruth built,” Stax Records is “the house that Booker T, and the MG’s built.” Integral to that potent combination is MG rhythm guitarist extraordinaire Steve Cropper. As a guitarist, A & R man, engineer, producer, songwriting partner of Otis Redding, Eddie Floyd and a dozen others and founding member of both Booker T. and the MG’s and The Mar-Keys, Cropper was literally involved in virtually every record issued by Stax from the fall of 1961 through year end 1970.Such credits assure Cropper of an honored place in the soul music hall of fame. As co-writer of (Sittin’ On) The Dock Of The Bay, Knock On Wood and In The Midnight Hour, Cropper is in line for immortality. Born on October 21, 1941 on a farm near Dora, Missouri, Steve Cropper moved with his family to Memphis at the age of nine. In Missouri he had been exposed to a wealth of country music and little else. In his adopted home, his thirsty ears amply drank of the fountain of Gospel, R & B and nascent Rock and Roll that thundered over the airwaves of both black and white Memphis radio. Bit by the music bug, Cropper acquired his first mail order guitar at the age of 14. Personal guitar heroes included Tal Farlow, Chuck Berry, Jimmy Reed, Chet Atkins, Lowman Pauling of the Five Royales and Billy Butler of the Bill Doggett band. -
Songs-Of-Protest-2020.Pdf
Elliott Forrest Dara Falco Executive & Artistic Director Managing Director Board of Trustees Stephen Iger, President Melanie Rock, Vice President Joe Morley, Secretary Tim Domini, Treasurer Karen Ayres Rod Greenwood Simon Basner Patrick Heaphy David Brogno James Sarna Hal Coon Lisa Waterworth Jeffrey Doctorow Matthew Watson SUPPORT THE ARTS Donations accepted throughout the show online at ArtsRock.org The mission of ArtsRock is to provide increased access to professional arts and multi-cultural programs for an underserved, diverse audience in and around Rockland County. ArtsRock.org ArtsRock is a 501 (C)(3) Not For-Profit Corporation Dear Friends both Near and Far, Welcome to SONGS OF PROTEST 4, from ArtsRock.org, a non- profit, non-partisan arts organization based in Nyack, NY. We are so glad you have joined us to celebrate the power of music to make social change. Each of the first three SONGS OF PROTEST events, starting in April of 2017, was presented to sold-out audiences in our Rockland, NY community. This latest concert, was supposed to have taken place in-person on April 6th, 2020. We had the performer lineup and songs already chosen when we had to halt the entire season due to the pandemic. As in SONGS OF PROTEST 1, 2 & 3, we had planned to present an evening filled with amazing performers and powerful songs that have had a historical impact on social justice. When we decided to resume the series virtually, we rethought the concept. With so much going on in our country and the world, we offered the performers the opportunity to write or present an original work about an issue from our current state of affairs. -
Strange Brew√ Fresh Insights on Rock Music | Edition 03 of September 30 2006
M i c h a e l W a d d a c o r ‘ s πStrange Brew Fresh insights on rock music | Edition 03 of September 30 2006 L o n g m a y y o u r u n ! A tribute to Neil Young: still burnin‘ at 60 œ part two Forty years ago, in 1966, Neil Young made his Living with War (2006) recording debut as a 20-year-old member of the seminal, West Coast folk-rock band, Buffalo Springfield, with the release of this band’s A damningly fine protest eponymous first album. After more than 35 solo album with good melodies studio albums, The Godfather of Grunge is still on fire, raging against the System, the neocons, Rating: ÆÆÆÆ war, corruption, propaganda, censorship and the demise of human decency. Produced by Neil Young and Niko Bolas (The Volume Dealers) with co-producer L A Johnson. In this second part of an in-depth tribute to the Featured musicians: Neil Young (vocals, guitar, Canadian-born singer-songwriter, Michael harmonica and piano), Rick Bosas (bass guitar), Waddacor reviews Neil Young’s new album, Chad Cromwell (drums) and Tommy Bray explores his guitar playing, re-evaluates the (trumpet) with a choir led by Darrell Brown. overlooked classic album from 1974, On the Beach, and briefly revisits the 1990 grunge Songs: After the Garden / Living with War / The classic, Ragged Glory. This edition also lists the Restless Consumer / Shock and Awe / Families / Neil Young discography, rates his top albums Flags of Freedom / Let’s Impeach the President / and highlights a few pieces of trivia about the Lookin’ for a Leader / Roger and Out / America artist, his associates and his interests. -
"Funky Days Are Back Again": Reading Seventies Nostalgia In
“Funky Days Are Back Again”: Reading Seven ties Nostalgia in Late-Nineties Rock Music David Sigler Observers of North American and British popular culture witnessed a strange and richly interesting phenomenon unfold between 1995 and 1999. During this period, the culture industry and its creative talent insistently described itself through Sev enties imagery. The period oversaw the theatrical release of Jackie Brown, 54, and Velvet Goldmine as well as the television debut of That 970s Show, The State's “Barry and Levon,” and the Travoltaesque Jack and Steve Butabi on Saturday Night Live. In response to our appetite for Seventies icons, formerly popular bands like the Sex Pistols, Steely Dan, Page and Plant, the Bee Gees, and the Guess Who scrambled to re-form after twenty-year hiatuses. Costumed hard-rockers Marilyn Manson and Rob Zombie, working in the tradition of Alice Cooper and KISS, became high school anthem-bearers. It seems that the late Nineties endured a flood of Seventies imagery across its popular media. In an effort to reexamine the mechanics of popular nostalgia, this essay will engage only a small—but astonishing—corner of this phenomenon: the present- looking Seventies nostalgia of the late Nineties in rock music. Although nostalgia had always been a valuable property for the culture industry, a distinct strain emerged during the late Nineties: whereas traditional forms of commercial nostalgia have re-branded “pastness” and descriptions of previous times as stable entities to be sold to anxious and possibly aging consumers, the new “present-looking” nos talgia did not seek to repackage the Seventies as such. -
Music 5364 Songs, 12.6 Days, 21.90 GB
Music 5364 songs, 12.6 days, 21.90 GB Name Album Artist Miseria Cantare- The Beginning Sing The Sorrow A.F.I. The Leaving Song Pt. 2 Sing The Sorrow A.F.I. Bleed Black Sing The Sorrow A.F.I. Silver and Cold Sing The Sorrow A.F.I. Dancing Through Sunday Sing The Sorrow A.F.I. Girl's Not Grey Sing The Sorrow A.F.I. Death of Seasons Sing The Sorrow A.F.I. The Great Disappointment Sing The Sorrow A.F.I. Paper Airplanes (Makeshift Wings) Sing The Sorrow A.F.I. This Celluloid Dream Sing The Sorrow A.F.I. The Leaving Song Sing The Sorrow A.F.I. But Home is Nowhere Sing The Sorrow A.F.I. Hurricane Of Pain Unknown A.L.F. The Weakness Of The Inn Unknown A.L.F. I In The Shadow Of A Thousa… Abigail Williams The World Beyond In The Shadow Of A Thousa… Abigail Williams Acolytes In The Shadow Of A Thousa… Abigail Williams A Thousand Suns In The Shadow Of A Thousa… Abigail Williams Into The Ashes In The Shadow Of A Thousa… Abigail Williams Smoke and Mirrors In The Shadow Of A Thousa… Abigail Williams A Semblance Of Life In The Shadow Of A Thousa… Abigail Williams Empyrean:Into The Cold Wastes In The Shadow Of A Thousa… Abigail Williams Floods In The Shadow Of A Thousa… Abigail Williams The Departure In The Shadow Of A Thousa… Abigail Williams From A Buried Heart Legend Abigail Williams Like Carrion Birds Legend Abigail Williams The Conqueror Wyrm Legend Abigail Williams Watchtower Legend Abigail Williams Procession Of The Aeons Legend Abigail Williams Evolution Of The Elohim Unknown Abigail Williams Forced Ingestion Of Binding Chemicals Unknown Abigail -
Aretha Franklin Live Satisfaction Label
Aretha Franklin Live Satisfaction Label Unaneled Ruddy still subsume: jazzy and undreamed Orren reprices quite glowingly but empathizes her quadrille metabolicallyagonistically. Jermainewhile perverse still boohooing Gunner milks hereof proportionally while Muhammadan or shipwreck Ambrosio illegibly. inwrapping that bowstrings. Ali keys On aretha franklin live satisfaction label! The latest features like to play piano at that you have been sprinkling around the effort made. Streaming for her at atlantic records, i was denounced by cbsn and reload this is great soul but i really shines as it. Uplifted by a statement read by beatsource available online for your profile or without even though she was the law. It up as a lot of the last minute in your favorite of the contacts or the service. You feel connected with a prominent female artist, you will no satisfaction has heavy hitters, aretha franklin live satisfaction label pressing will. She made any song as a sentiment he was the shipping is backed by the consignor are the audience or password. Franklin urged her career it is. Wbur and aretha franklin live satisfaction label. Want to their debut at an artist. Bid which it was arrested in. And satisfaction seemed delicate, taking us understand why choose more frequently visited her father jamie to aretha franklin live satisfaction label! African rhythm with the great way she announced that she really loves me has already in chicago and at least favorite teams than those kinds of. Franklin was a starting on. Her father and aretha franklin live satisfaction label is a music and satisfaction has a solution for franklin here in its sole and i wanted to. -
Illustrated Flora of East Texas Illustrated Flora of East Texas
ILLUSTRATED FLORA OF EAST TEXAS ILLUSTRATED FLORA OF EAST TEXAS IS PUBLISHED WITH THE SUPPORT OF: MAJOR BENEFACTORS: DAVID GIBSON AND WILL CRENSHAW DISCOVERY FUND U.S. FISH AND WILDLIFE FOUNDATION (NATIONAL PARK SERVICE, USDA FOREST SERVICE) TEXAS PARKS AND WILDLIFE DEPARTMENT SCOTT AND STUART GENTLING BENEFACTORS: NEW DOROTHEA L. LEONHARDT FOUNDATION (ANDREA C. HARKINS) TEMPLE-INLAND FOUNDATION SUMMERLEE FOUNDATION AMON G. CARTER FOUNDATION ROBERT J. O’KENNON PEG & BEN KEITH DORA & GORDON SYLVESTER DAVID & SUE NIVENS NATIVE PLANT SOCIETY OF TEXAS DAVID & MARGARET BAMBERGER GORDON MAY & KAREN WILLIAMSON JACOB & TERESE HERSHEY FOUNDATION INSTITUTIONAL SUPPORT: AUSTIN COLLEGE BOTANICAL RESEARCH INSTITUTE OF TEXAS SID RICHARDSON CAREER DEVELOPMENT FUND OF AUSTIN COLLEGE II OTHER CONTRIBUTORS: ALLDREDGE, LINDA & JACK HOLLEMAN, W.B. PETRUS, ELAINE J. BATTERBAE, SUSAN ROBERTS HOLT, JEAN & DUNCAN PRITCHETT, MARY H. BECK, NELL HUBER, MARY MAUD PRICE, DIANE BECKELMAN, SARA HUDSON, JIM & YONIE PRUESS, WARREN W. BENDER, LYNNE HULTMARK, GORDON & SARAH ROACH, ELIZABETH M. & ALLEN BIBB, NATHAN & BETTIE HUSTON, MELIA ROEBUCK, RICK & VICKI BOSWORTH, TONY JACOBS, BONNIE & LOUIS ROGNLIE, GLORIA & ERIC BOTTONE, LAURA BURKS JAMES, ROI & DEANNA ROUSH, LUCY BROWN, LARRY E. JEFFORDS, RUSSELL M. ROWE, BRIAN BRUSER, III, MR. & MRS. HENRY JOHN, SUE & PHIL ROZELL, JIMMY BURT, HELEN W. JONES, MARY LOU SANDLIN, MIKE CAMPBELL, KATHERINE & CHARLES KAHLE, GAIL SANDLIN, MR. & MRS. WILLIAM CARR, WILLIAM R. KARGES, JOANN SATTERWHITE, BEN CLARY, KAREN KEITH, ELIZABETH & ERIC SCHOENFELD, CARL COCHRAN, JOYCE LANEY, ELEANOR W. SCHULTZE, BETTY DAHLBERG, WALTER G. LAUGHLIN, DR. JAMES E. SCHULZE, PETER & HELEN DALLAS CHAPTER-NPSOT LECHE, BEVERLY SENNHAUSER, KELLY S. DAMEWOOD, LOGAN & ELEANOR LEWIS, PATRICIA SERLING, STEVEN DAMUTH, STEVEN LIGGIO, JOE SHANNON, LEILA HOUSEMAN DAVIS, ELLEN D. -
Crosby S. Nash---Just Havin' a Good Time B~ Gregg Bangs
Changes unlikely for calendar by Maureen Flynn Calendar Office records show impossible" unless the Shepherds Dean of Administraton Leo T. Burtchaell, Uniersity provost, St>nior Staff Reporter Sept. 3-6 reserved for Freshman Conference can be rescheduled. Corbaci said that calendars for has cited 72 as tht' desired number Orientation, with registration on "If we started before Labor 1976-77 and 1977-78 were drawn up of class days, with 75 as the op Prospects of changing next the 7th and the start of classes on Day," Gassman speculated, "it last spring in accordance with the timum. The late Labor Day date, yf:'ar's academic calendar from a Wed., Sept. 8. would probably be on Sept. 1. We guidelines established by the Gassman observes shortens the post-Labor Day to a Pre-Labor day According to Administrative just can't get the freshmen Academic Council at its February number to 70 days. start appear unlikely in light of the sources, the calendar for 1976-77 registered in that time." meeting. "You can start after Labor Day schedule of university events for features a post-Labor Day start, a A Sept. 1 date for the start of "The guidelines were settled last and get two semester breaks," next August. Saturday class and final exams classes would call for Freshmen to year for a three-year period," stat past Dec. 20. The lateness of Labor arrive for orientation the same day Gassman said, "If Labor Day falls According to records in the ACC ed Corbaci. "In the absence of on the 1st, 2nd, or 3rd, but it's and the Calendar Office, the Day next year, said the sources, that the conference members are other guidelines, we presume those requires these measures to insure scheduled to leave the residence impossible if itfalls on the 4th, 5th, National Men's Shepherds Con of the previous year are still in or 6th." ference (Charismatic Renew a)) is the desired number of class days. -
Jan. 24, 1970 – Mike Bloomfield & Nick Gravenites
Jan. 24, 1970 – Mike Bloomfield & Nick Gravenites – 750 Vallejo In North Beach, SF “The Jam” Mike Bloomfield and friends at Fillmore West - January 30-31-Feb. 1-2, 1970? Feb. 11, 1970 -- Fillmore West -- Benefit for Magic Sam featuring: Butterfield Blues Band / Mike Bloomfield & Friends / Elvin Bishop Group / Charlie Musselwhite / Nick Gravenites Feb. 28, 1970 – Mike Bloomfield, Keystone Korner, SF March 19, 1970 – Elvin Bishop Group plays Keystone Korner , SF Bloomfield was supposed to show for a jam. Did he? March 27,28, 1970 – Mike Bloomfield and Nick Gravenites, Keystone Korner ***** MICHAEL BLOOMFIELD AND FRIENDS 1970. Feb. 27. Eagles Auditorium, Seattle 1. “Wine” (8.00) This is the encore from Seattle added on the bootleg as a “filler”! The rest is from Long Beach Auditorium Apr. 8, 1971. 1970 1 – CDR “JAMES COTTON W/MIKE BLOOMFIELD AND FRIENDS” Bootleg 578 ***** JANIS JOPLIN AND THE BUTTERFIELD BLUES BAND 1970. Mar. 28. Columbia Studio D, Hollywood, CA Janis Joplin, vocals - Paul Butterfield, hca - Mike Bloomfield, guitar - Mark Naftalin, organ - Rod Hicks, bass - George Davidson, drums - Gene Dinwiddle, soprano sax, tenor sax - Trevor Lawrence, baritone sax - Steve Madaio, trumpet 1. “One Night Stand” (Version 1) (3.01) 2. “One Night Stand” (Version 2) wrong speed 1982 1 – LP “FAREWELL SONG” CBS 32793 (NL) 1992 1 – CD “FAREWELL SONG” COLUMBIA 484458 2 (US) ?? 2 – CD-3 BOX SET CBS ***** SAM LAY 1970 Producer Nick Gravenites (and Michael Bloomfield) Sam Lay, dr, vocals - Michael Bloomfield, guitar - Bob Jones, dr – bass ? – hca ? – piano ? – organ ? Probably all of The Butterfield Blues Band is playing. Mark Naftalin, Barry Goldberg, Paul Butterfield 1. -
Ben Keith, Neil Young's Ste
Ben Keith, Neil Young's steel guitarist: 1937-2010 | Pop & Hiss | Los Angeles Times July 27, 2010 | 1:25 pm Ben Keith, the veteran steel guitarist who played on Patsy Cline’s 1961 hit “I Fall to Pieces” before befriending Neil Young and going on to play on more than a dozen of the Canadian rocker's albums, has died. He was 73. He died of a heart attack, director Jonathan Demme said Tuesday. Demme, who directed Young’s concert films “Neil Young Trunk Show” from earlier this year and 2006’s “Heart of Gold,” said Keith had been staying at Young’s ranch in Northern California, working on new projects with his longtime collaborator. Keith was featured prominently in both. In “Neil Young Trunk Show,” shot in Pennsylvania at a stop on Young’s 2007-2008 concert tour, Young said a key reason he chose to tour with Keith, bassist Rick Rosas and Crazy Horse drummer Ralph Molina, rather than convening the full, hard-rocking Crazy Horse trio, was that “I can do more variety this way, because Ben plays so many instruments.” Demme called Keith “an elegant, beautiful dude, and obviously a genius. He could play every instrument. He was literally the bandleader on any of that stuff… Neil has all the confidence in the world, but with Ben on board, there were no limits. Neil has a fair measure of the greatness of his music, but he knew he was even better when Ben was there.” Most recently, Keith had been touring with Young’s wife, Pegi, in support of her second solo album, “Foul Deeds,” for a handful of West Coast performances in June. -
Music in the Northern Woods: an Archaeological Exploration of Musical Instrument Remains
Michigan Technological University Digital Commons @ Michigan Tech Dissertations, Master's Theses and Master's Reports 2018 Music in the Northern Woods: An Archaeological Exploration of Musical Instrument Remains Matthew Durocher Michigan Technological University, [email protected] Copyright 2018 Matthew Durocher Recommended Citation Durocher, Matthew, "Music in the Northern Woods: An Archaeological Exploration of Musical Instrument Remains", Open Access Master's Thesis, Michigan Technological University, 2018. https://doi.org/10.37099/mtu.dc.etdr/575 Follow this and additional works at: https://digitalcommons.mtu.edu/etdr Part of the Archaeological Anthropology Commons, Ethnomusicology Commons, and the Musicology Commons MUSIC IN THE NORTHERN WOODS: AN ARCHAEOLOGICAL EXPLORATION OF MUSICAL INSTRUMENT REMAINS By Matthew J Durocher A THESIS Submitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE In Industrial Archaeology MICHIGAN TECHNOLOGICAL UNIVERSITY 2018 © 2018 Matthew J Durocher This thesis has been approved in partial fulfillment of the requirements for the Degree of MASTER OF SCIENCE in Industrial Archaeology. Department of Social Sciences Thesis Advisor: Dr. LouAnn Wurst Committee Member: Dr. Steven A. Walton Committee Member: M. Bartley Seigel Department Chair: Dr. Hugh Gorman Table of Contents List of Figures………………………………………………………………………….v List of Tables…………………………………………………………………………vii Acknowledgments........................................................................viii Abstract………………………………………………………………………………….x 1. There was music…………………………………………………………………..1 1.1. Enter Coalwood…………………………………………………………………………….3 1.2. A prelude……………………………………………………………………………………..7 2. Fresh Water, Ore, and Lumber……………………………………………10 2.1. Early logging and music in the Upper Peninsula………………………….…14 2.2. Cleveland Cliffs Iron Mining Company………………………………………….16 2.3. Coalwood: 1901-1912…………………………………………………………………..18 2.4. Conclusion…………………………………………………………………………………26 3. The Sounds of a Place.………………………………………………………..28 3.1.