Lola (The Kinks)
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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. -
Sweet at Top of the Pops
1-4-71: Presenter: Tony Blackburn (Wiped) THE SWEET – Funny Funny ELVIS PRESLEY – There Goes My Everything (video) JIMMY RUFFIN – Let’s Say Goodbye Tomorrow CLODAGH RODGERS – Jack In The Box (video) FAME & PRICE TOGETHER – Rosetta CCS – Walkin’ (video) (danced to by Pan’s People) THE FANTASTICS – Something Old, Something New (crowd dancing) (and charts) YES – Yours Is No Disgrace T-REX – Hot Love ® HOT CHOCOLATE – You Could Have Been A Lady (crowd dancing) (and credits) ........................................................................................................................................................ THIS EDITION OF TOTP IS NO LONGER IN THE BBC ARCHIVE, HOWEVER THE DAY BEFORE THE BAND RECORDED A SHOW FOR TOPPOP AT BELLEVIEW STUDIOS IN AMSTERDAM, WEARING THE SAME STAGE OUTFITS THAT THEY HAD EARLIER WORN ON “LIFT OFF”, AND THAT THEY WOULD WEAR THE FOLLOWING DAY ON TOTP. THIS IS THE EARLIEST PICTURE I HAVE OF A TV APPEARANCE. 8-4-71: Presenter: Jimmy Savile (Wiped) THE SWEET – Funny Funny ANDY WILLIAMS – (Where Do I Begin) Love Story (video) RAY STEVENS – Bridget The Midget DAVE & ANSIL COLLINS – Double Barrel (video) PENTANGLE – Light Flight JOHN LENNON & THE PLASTIC ONO BAND – Power To The People (crowd dancing) (and charts) SEALS & CROFT – Ridin’ Thumb YVONNE ELLIMAN, MURRAY HEAD & THE TRINIDAD SINGERS – Everything's All Right YVONNE ELLIMAN, MURRAY HEAD & THE TRINIDAD SINGERS – Superstar T-REX – Hot Love ® DIANA ROSS – Remember Me (crowd dancing) (and credits) ......................................................................................................................................................... -
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960S and 1970S by Kathryn B. C
“What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960s and 1970s by Kathryn B. Cox A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology: History) in the University of Michigan 2018 Doctoral Committee: Professor Charles Hiroshi Garrett, Chair Professor James M. Borders Professor Walter T. Everett Professor Jane Fair Fulcher Associate Professor Kali A. K. Israel Kathryn B. Cox [email protected] ORCID iD: 0000-0002-6359-1835 © Kathryn B. Cox 2018 DEDICATION For Charles and Bené S. Cox, whose unwavering faith in me has always shone through, even in the hardest times. The world is a better place because you both are in it. And for Laura Ingram Ellis: as much as I wanted this dissertation to spring forth from my head fully formed, like Athena from Zeus’s forehead, it did not happen that way. It happened one sentence at a time, some more excruciatingly wrought than others, and you were there for every single sentence. So these sentences I have written especially for you, Laura, with my deepest and most profound gratitude. ii ACKNOWLEDGMENTS Although it sometimes felt like a solitary process, I wrote this dissertation with the help and support of several different people, all of whom I deeply appreciate. First and foremost on this list is Prof. Charles Hiroshi Garrett, whom I learned so much from and whose patience and wisdom helped shape this project. I am very grateful to committee members Prof. James Borders, Prof. Walter Everett, Prof. -
Waterloo Sunset” Teacher’S Notes Music Has Great Power to Inspire Us and Lift Our Mood
Feelgood Songs 2: A2+ “Waterloo Sunset” Teacher’s Notes Music has great power to inspire us and lift our mood. Which we could all do with a bit of at the moment. We were trying to think of work to set pupils at home that was positive and good for the soul: what better than a little soul music? So here is the first in a series of resources on feelgood songs. In this case, Nina Simone and her version of “Feeling Good”. AXE DU PROGRAMME Biobox Transcript n Le village, le quartier, la ville / Espaces privé et espace public THE YEAR 1967 Discover what happened in the music world OBJECTIFS in 1967. Objectifs linguistiques : Rock music was revolutionised. n Simple present Sophisticated sound effects gave birth to n Preterite and past perfect psychedelic or acid rock! n Wh-words / questions The sounds of the wah-wah pedal on the n Contrast, opposition, concession album White Rabbit hypnotized Jefferson n Superlatives Airplane’s fans. n Feelings The Beatles stopped performing live and n City life recorded two new albums in Abbey Road n Personal opinion Studios in London. The cover of Sergeant Pepper’s Lonely Objectifs culturels : Hearts Club Band featured Albert Einstein, n London Bob Dylan, Marilyn Monroe, Oscar Wilde, Karl n Waterloo Station Marx… n The Thames The Who’s Sell Out album parodied the n The year 1967 in music Radio London DJs made famous by the film Good Morning England (2009). Objectifs méthodologiques : The Doors made their way onto the musical n Comparer deux situations / donner son stage with their first two albums in the opinion same year. -
All Day and All of the Night I'm Not Content to Be with You in the Daytime Girl I Want to Be with You All of the Time the Only T
All Day and All of the Night (The Kinks) I'm not content to be with you in the daytime Girl I want to be with you all of the time The only time I feel alright is by your side Girl I want to be with you all of the time All day and all of the night All day and all of the night All day and all of the night I believe that you and me last forever Oh yeah, all day and nighttime yours, leave me never The only time I feel alright is by your side Girl I want to be with you all of the time All day and all of the night All day and all of the night Oh, come on {Instrumental} I believe that you and me last forever Oh yeah, all day and nighttime yours, leave me never The only time I feel alright is by your side Girl I want to be with you all of the time All day and all of the night All day and all of the night-time All day and all of the night 3 "All Day and All of the Night" is a song by the English rock band The Kinks from 1964. It reached No. 2 on the UK Singles Chart and No. 7 on Billboard's United States chart in 1965. The song was released on the American studio album Kinks-Size. Like their previous hit "You Really Got Me", the song relies on a simple sliding power chord riff, although this song's riff is slightly more complicated, incorporating a B Flat after the chords F and G. -
The Kinks (Dave Davies)
wanted to break away from the rip-off so they did it again with a more An interview with light pop music that was on keyboard-oriented feel. I’d love to be the radio at the time and I able to get a hold of that recording! DAVE DAVIES searched to try and get a of the unique sound, which luckily I After the Kinks’ early heavy records found when I cut up the the band completely changed speakers of my amplifier! personality with singles like ‘Sunny Afternoon’ and albums like ‘Village When we first started we Green Preservation Society’. Since would do the odd Sonny Boy you were identified with the heavy Williamson song and Bo guitar sound of those earlier singles KINKS Diddley, like ‘Who Do You were you happy about the new Love’, and then we might direction and all the concept albums inks guitarist Dave throw in a couple of Buddy Holly that continued through the 70s? Davies had the coolest songs - it was just a very experimental and the longest hair of mix. And we used to do ‘Smokestack Obviously I wasn’t happy with all of any mid-60s pop hero - Lightnin’. It just had more soul, more them but as a musician I found that and that includes your grit, more expression. playing with a band you can KMick Jaggers and your John Lennons. contribute other things than heavy But even more importantly, his guitar The persistent rumour that Jimmy guitar parts. The whole recording playing on the band’s 1964 number Page played lead guitar on ‘You process is give and take and one ‘You Really Got Me’ remains Really Got Me’ must really annoy exchanging of ideas. -
The Kinks Are the Village Green Preservation Society 4Th October – 18Th November 2018 Proud: the Central,Village London Green Preservation Society
The Kinks Are The Village Green Preservation Society 4th October – 18th November 2018 Proud: The Central,Village London Green Preservation Society Proud Galleries is delighted to announce ‘The Kinks Are The Village Green Preservation Society’, an exhibition celebrating the 50th anniversary multi-format release of The Kinks’ sixth studio album, The Kinks Are the Village Green Preservation Society. On display is a selection of rare collector’s items including specially commissioned artworks by members of the band and vintage memorabilia, together with a collection of photographs documenting this remarkable period in the band’s history. Each work is hand- signed by surviving band members Ray Davies, Dave Davies and Mick Avory. ‘The Kinks Are The Village Green Preservation Society’ explores the album’s defiantly British sensibilities and commemorates what is now considered to be the high point of The Kinks’ outstanding career. The Village Green was originally released by The Kinks in November 1968 and became the final album from the original quartet: Ray Davies, Dave Davies, Pete Quaife and Mick Avory. Despite a positive critical reception upon its release, the album did not perform well commercially, perhaps due to the band’s deliberate step away from the musical trends of the era. In retrospect, audiences have come to value the album’s timeless quality, with Pete Townshend of The Who describing it as, ‘Ray [Davies]’s masterpiece… what makes him the definitive pop poet laureate’. Defying the 60’s typical approach to rock ‘n’ roll, The Village Green offers an affectionate and charming ode to the countryside through vignettes of English life. -
Fortherecord 1
ForTheRecord 1 EAST COASTINGS — There were serious possibilities that Jimmy Page, Robert Plant, tour in Albuquerque, New Mexico, Nov. 2, ending the first leg of the tour December 30 in John Paul Jones would not be able to the John Bonham and attend world premiere of their Chicago. Harry Chapin to apear at the renovated Avery Fisher Hall November 12 as part film, "The Song Remains The Same, "as the first celebrity-laden limo to pull up to Cinema I of the Great Performers series. He will be assisted by the Grace Church Choir, directed by w clinging Li with . in Manhattan was weighed down teenagers. Inside the theater, the 130 mem- his brother Stephen, with other surprises promised . Airing October 30 over NBC-TV, bers of the general public who had bought tickets, in addition to the obviously large num- Don Kirshner’s New Rock Concert features Lou Rawls, Dr. Hook, and comedy with of young people who had had complimentary tickets passed on to their Natural ie ber them by music Samuels and Cohen and Gas. phil dimauro industry elders, reacted to the entrance of the members of Led Zeppelin as if it were a , t dream come true. POINTS WEST — Word comes from a reliable source that George Harrison has settled °' Dreams, appropriately, are the centra! focus of the film, during the fantasy sequencesJn- with A&M in those much-taiked-about contract suits. Apparently, Harrison had to hand r€ volving the group’s members and their manager, Peter Grant, as well as the live perfor- back some money (some say as much as one million), which was presumably advances for mance segments, since Zeppelin’s concert production is relying ever more heavily on the albums that A&M isn’t going to get. -
Special Report: HOUSESYSTEM Collapse!
ARROWHEAD OCTOBER 1980 NUMBER 1 100 Special Report: HOUSESYSTEM COllAPSE! SPONSER - Nance Matviko EDITOR -IN - CHIEF - Paul MaiIon MANAGING EDITOR - Ron Miller CONSULTING EDITORS - Chris McKenna, Joan Jessop, Sue Zitelli, Jeff Grieve. PHOTOGRAPHY DIRECTOR - Rob Pillar WCC ART DIRECTOR - Ross McBride "Welcome to the camp, I guess you all know why we're here." As strange as it may seem, that quote bests sums up the intentions of the 1980-81 Arrowhead staff. We will attempt to provide information and insights into a variety of topics every month (or so) and thereby pro• Forethought - p. 1. duce a high-class "journalistic ex• perience" for all those involved. (What else?) We encourage our read• Communique - p. 2,3. ers to provide us with feedback on our performance. (i.e. Letters to Discs - p. 4, 12. the Editor). Also, anyone out there in this vast educational abyss who feels they have something worthy to Sports - p. 5, 6. write about, feel free to drop it off in our office anytime. Just make it "good" and it will be published. It Special Report is that simple. The End. Oh yeah. Musical Administration-p. 8 I forgot. This years' Arrowhead will Interview - p. 9. break from the pithy style of pre• Scheduling - p. 11. vious years and struggle to cre• ate a newspaper of imparalleled ex• cellence and noteworthiness. Okay? Muni Trek ( The Adcentures of Muni Sortahimsa) - p. 13 Afterthought - p. 14. Paul J. Mallon, Jr. NOTE: Muni t-shirts will soon be available in the Arrowhead office nest to B-229 in the Senior Build• ing. -
The History of the Kinks Singalongs and the Kinksfan Kollektiv by Geoff
The History of the Kinks Singalongs and The Kinksfan Kollektiv by Geoff Lewis Photos courtesy of WhyKinks, Retroman Blog, Brigitte Jeffs, Ben Elsendoorn, Ruud Kerstiens, Alison Neale, Olga Ruocco, Dave Quayle, Simon van den Bergh, Jeanine Hoedemakers, Jurrien Schadron, Rob Williams, Steph Williams, Julia Reinhart, Rebecca G Wilson There is a tradition of fans getting together for a few drinks before Kinks-related events, Ray Davies gigs, Dave Davies gigs etc., and in 1998, a few Dutch fans suggested meeting up the evening before the annual Official Kinks Fan Club Meeting (known colloquially to the fans as “The Konvention” and held on a Sunday afternoon late in November). The Clissold Arms has always been well known to the fans as the home of the Kinks, as it was the site of the first ever live performance by Ray and Dave Davies, so that was the obvious place to meet up. About a dozen of us had a very pleasant evening in the saloon (now the main restaurant - the layout of the pub in those days was somewhat different) discussing all matters Kinks and examining the small area of wall that contained a few pieces of Kinks memorabilia and photos, and it became a regular feature of the Konvention weekend for those who had travelled to London on the Saturday to gather at the Clissold. The Clissold Arms Kinks wall 1998 The numbers meeting gradually increased over the years and in 2002, Henny Stahli and the late Herman Gombert (“The Kinky Two”) were among our number. Herman got his guitar out and started strumming and the rest of us happily sang along to a few Kinks classics. -
Dancing in the Street”--Martha and the Vandellas (1964) Added to the National Registry: 2005 Essay by Cary O’Dell
“Dancing in the Street”--Martha and the Vandellas (1964) Added to the National Registry: 2005 Essay by Cary O’Dell Martha and the Vandellas Erudite music critic Dave Marsh has called it, “As pure a product of its day as anything Dylan or the Beatles ever imagined.” The song is “Dancing in the Street,” written by William Stevenson, Marvin Gaye, and Ivy Jo Hunter and recorded by Martha and the Vandellas in 1964. Since its release in July of ’64 (it would reach #2 on the Billboard pop chart by September), the song has gone on to become one of Gordy/Motown and pop music’s most definitive works and a powerful anthem, sometimes in spite of itself. The Martha of Martha and the Vandellas is Martha Reeves. She was born in Alabama in 1941 and raised in Detroit. She began singing with her friends Annette Beard and Rosalind Ashford, as the Del-Phi’s, while still in high school. They cut their first records in 1960. But stardom was not, at that time, in the cards. Not long after, however, and after Reeves briefly pursed a solo career, Reeves became the secretary to Mickey Stevenson, an exec at Detroit’s renowned Motown Records. Legend has it that, one day, label founder Berry Gordy, Jr. needed some backup singers for a session then in progress. Knowing of Reeves’ recording ambitions, he called her and her friends, Beard and Ashford, into the studio. The trio of ladies would end up singing back-up on two Marvin Gaye records, “Stubborn Kind of Fellow” and “Hitch Hike.” Under the moniker Martha and the Vandellas (a hybrid of Detroit’s Van Dyke Street and singer Della Reese’s first name), the revived group also quickly recorded their own single, “I’ll Have to Let Him Go.” Liking the end results, Gordy signed the group to their own contract in September 1962. -
Davies and Penhall's Sunny Afternoon
i Davies and Penhall’s Sunny Afternoon ‘They make the Rolling Stones look like US Marines’ – police officer When ‘You Really Got Me’ exploded on Swinging London in 1964, the Kinks forever changed the course of rock ’n’ roll. Ray Davies and Joe Penhall’s Olivier Award- winning Sunny Afternoon (2014) covers the band’s formative years of 1964–7, when four working-class North London lads broke through to become one of the most unlikely and influential rock bands of the 1960s. Mixing the comic adventures of ‘Dave the Rave’ with the touching introspection of Ray’s some- times fragile psyche, Joe Penhall’s script weaves Ray Davies’ songs, both the hits and lesser- known works, into one of the finest jukebox musicals of the new millennium. Drawing on a wealth of background material, John Fleming examines the blend of events and songs selected, reconsider- ing the relationship between biography and drama to shed new light on the Kinks and the musical that tells their story. John Fleming is Dean of the College of Fine Arts and Communication at Texas State University. ii The Fourth Wall The Fourth Wall series is a growing collection of short books on famous plays. Its compact format perfectly suits the kind of fresh, engaging criticism that brings a play to life. Each book in this series selects one play or musical as its subject and approaches it from an original angle, seeking to shed light on an old favourite or break new ground on a modern classic. These lively, digestible books are a must for anyone looking for new ideas on the major works of modern theatre.