Festival 30000 LP SERIES 1961-1989
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Debuten Til Hardrocker'ne Fra Down Under. 6.Albumet I Rekken Av
ARTIST / BANDNAVN ALBUM TITTEL UTG.ÅR LABEL/ KATAL.NR. LAND LP KOMMENTAR A New wave/synthpop fra Sheffield band, med Martin Fry som leder. Musikken kan ABC BEAUTY STAB 1983 MERCURY 814 661-1 GER LP høres som en mix av Bowie og Roxy Music. Mick fra den første utgaven av Jethro Tull og Blodwyn Pig med sitt soloalbum fra ABRAHAMS, MICK MICK ABRAHAMS 1971 A&M RECORDS SP 4312 USA LP 1971. Drivende god blues / prog rock. Min første og eneste skive med det tyske heavy metal bandet. Et absolutt godt ACCEPT RESTLESS AND WILD 1982 BRAIN 0060.513 GER LP album, med Udo Dirkschneider på hylende vokal. Fikk opplevd Udo og sitt band live på Byscenen i Trondheim november 2017. Meget overraskende og positiv opplevelse, med knallsterke gitarister, og sønnen til Udo på trommer. AC/DC HIGH VOLTAGE 1975 ATL 50257 GER LP Debuten til hardrocker'ne fra Down Under. AC/DC POWERAGE 1978 ATL 50483 GER LP 6.albumet i rekken av mange utgivelser. ACKLES, DAVID AMERICAN GOTHIC 1972 EKS-75032 USA LP Strålende låtskriver, albumet produsert av Bernie Taupin, kompisen til Elton John. GEFFEN RECORDS AEROSMITH PUMP 1989 EUR LP Steven Taylor, Joe Perry, Tom Hamilton, Joey Kramer. Spilt inn i Canada. 924254 AKKERMAN, JAN PROFILE 1972 HARVEST SHSP 4026 UK LP Soloalbum fra den glimrende gitaristen fra nederlandske progbandet Focus. Akkermann med klassisk gitar, lutt og et stor orkester til hjelp. I tillegg rockere som AKKERMAN, JAN TABERNAKEL 1973 ATCO SD 7032 USA LP Tim Bogert bass og Carmine Appice trommer. Her viser Akkermann en ny side av sitt talent. -
Gillan, Ian, Band: Live at the Rainbow 1977 (DVD) Page 1 of 2
Sea of Tranquility - Gillan, Ian, Band: Live at the Rainbow 1977 (DVD) Page 1 of 2 Gillan, Ian, Band: Live at the Rainbow 1977 (DVD) The Ian Gillan DVD's keep coming, this one being a 34 minute concert clip from a 1977 appearance at the Rainbow, featuring the Ian Gillan Band. These days many people tend to forget this early band of Gillan's, most remember the harder rocking Gillan that toured extensively and released a handful of powerful albums in the late 70's and early 80's. The IGB were more of a mix of jazz fusion and rock, as opposed to the heavy rock sounds of Gillan, clearly heard on this five song set featuring guitarist Ray Fenwick, keyboard player Colin Towns, bassist John Gustafson, and drummer Mark Nauseef. It's a shame that not more of the band's original material is presented here, as they had a unique sound which paired stunning jazzy arrangements with Gillan's vocal shrieks, which can be heard in full force on "Clear Air Turbulence" and "Money Lender". However, this fusion based sound does not work well at all on Deep Purple classics like "Child In Time", "Smoke on the Water" , and "Woman From Tokyo", especially with Fenwick, who is a fine guitar player in his own right but not very adept at playing songs with heavy riffs. It would have been nice to see and hear him on some other IGB original material rather than the Purple songs, but perhaps this was the only footage that survived from this show. -
GILLAN, IAN BAND Titolo Album: DVD - Live at the Rainbow 1977 Nazionalità: Inghilterra Etichetta: Angel Air Waves Anno Di Pubblicazione: 2006
Page 1 of 1 Autore: GILLAN, IAN BAND Titolo album: DVD - Live At The Rainbow 1977 Nazionalità: Inghilterra Etichetta: Angel Air Waves Anno di pubblicazione: 2006 Voto medio: 8 Recensito da Daniele Cutali Gli anni dell'interregno per l'urlatore porpora... Ian Gillan lasciò i Deep Purple nel 1973 proprio dopo la pubblicazione dell'acclamato album “Who Do We Think We Are?”, a causa di forti contrasti interni con il chitarrista Ritchie Blackmore. Il grande cantante urlatore formò una band tutta sua e quindi dopo tre anni pubblicò, nel 1976, il suo primo disco solista con essa. Quell'album adesso introvabile era “Child In Time” e contiene una splendida cover della famosa canzone dei Purple, meno hard rock, meno nervosa e drammatica, con un'inclinazione più sognante e malinconica eseguita con molti sapori progressivi. Esso segnò l'ascesa della prima formazione della Ian Gillan Band, rimarcata ancora nel 1977 dalla pubblicazione degli ottimi “Clear Air Turbulence” e “Scarabus”, entrambi nello stesso anno ed entrambi con un particolare mood jazzato, un groove alieno a ciò che Gillan ci aveva abituati nella sua band porpora, e con straordinarie parti sperimentali sottolineate da interventi di flauto e sax. Tutto ciò, appunto, era abbastanza fuori dalla norma per un cantante che proveniva direttamente dall'hard rock milieu, ma Gillan desiderava fortemente cambiare aria dal ruvido sound purpleiano così approdò all'esplorazione di spiagge quasi progressive. Poi nel 1978 cambiò di nuovo tutto facendo retromarcia e tornando verso i sicuri e redditizi lidi dell'hard rock inglese, cavalcando con arguzia ed esperienza il crescente successo della New Wave of British Metal costituita da Judas Priest, Saxon e Iron Maiden su tutti. -
MCA-500 Reissue Series
MCA 500 Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan MCA-500 Reissue Series: MCA 500 - Uncle Pen - Bill Monroe [1974] Reissue of Decca DL 7 5348. Jenny Lynn/Methodist Preacher/Goin' Up Caney/Dead March/Lee Weddin Tune/Poor White Folks//Candy Gal/Texas Gallop/Old Grey Mare Came Tearing Out Of The Wilderness/Heel And Toe Polka/Kiss Me Waltz MCA 501 - Sincerely - Kitty Wells [1974] Reissue of Decca DL 7 5350. Sincerely/All His Children/Bedtime Story/Reno Airport- Nashville Plane/A Bridge I Just Can't Burn/Love Is The Answer//My Hang Up Is You/Just For What I Am/It's Four In The Morning/Everybody's Reaching Out For Someone/J.J. Sneed MCA 502 - Bobby & Sonny - Osborne Brothers [1974] Reissue of Decca DL 7 5356. Today I Started Loving You Again/Ballad Of Forty Dollars/Stand Beside Me, Behind Me/Wash My Face In The Morning/Windy City/Eight More Miles To Louisville//Fireball Mail/Knoxville Girl/I Wonder Why You Said Goodbye/Arkansas/Love's Gonna Live Here MCA 503 - Love Me - Jeannie Pruett [1974] Reissue of Decca DL 7 5360. Love Me/Hold To My Unchanging Love/Call On Me/Lost Forever In Your Kiss/Darlin'/The Happiest Girl In The Whole U.S.A.//To Get To You/My Eyes Could Only See As Far As You/Stay On His Mind/I Forgot More Than You'll Ever Know (About Her)/Nothin' But The Love You Give Me MCA 504 - Where is the Love? - Lenny Dee [1974] Reissue of Decca DL 7 5366. -
ANDREA FERRANTE GIANNI DE BERARDINIS Con Una Sconcertante Puntualità Capace Di Superare Ogni Più Rosea Speranza, Arriva MAT2020 Di Aprile
MAT2020 - Anno II - n°15 - 04/14 CAMEL GLAD TREE SOPHYA BACCINI ANDREA FERRANTE GIANNI DE BERARDINIS Con una sconcertante puntualità capace di superare ogni più rosea speranza, arriva MAT2020 di aprile. Qualche nuova entrata tra i collaboratori occasionali porta una ventata di opinioni fresche, anche se chi le propone ha esperienza da vendere, come il giovane Jacopo Muneratti, che MAT 2020 - MusicArTeam racconta... si addentra nel mondo di Captain Beefheart, e il saggista Innocenzo Alfano, che ci racconta [email protected] l’ultimo libro di Mox Cristadoro, I cento migliori dischi del progressive italiano. Angelo De Negri Ritorna Claudio Milano che descrive l’album di OTEME, mentre Gianmaria Consiglio propone General Manager and Web Designer l’intervista realizzata con Sophya Baccini. Athos Enrile A proposito di botta e risposta, è con grande piacere che ritroviamo un mito televisivo di 1st Vice General Manager and Chief Editor qualche anno fa, più che mai sul campo, Gianni De Berardinis, così come va sottolineato lo Massimo ‘Max’ Pacini scambio di battute con Andrea Ferrante. 2nd Vice General Manager, Chief Editor and Webmaster Marta Benedetti, Paolo ‘Revo’ Revello La sezione live è ridotta, ma di estrema qualità, per effetto del racconto di Alberto Sgarlato Administration del concerto dei Camel, che mantiene comunque viva la sua rubrica mensile. Web Journalists: Innocenzo Alfano, Gianmaria Consiglio, Claudio Milano, Jacopo Muneratti, Tra quelli che non mollano mai possiamo ancora inserire Mauro Selis, titolare del “Prog del Fabrizio Poggi, Gianni Sapia, Mauro Selis, Alberto Sgarlato, Riccardo Storti. Sud America” e della sezione “Psicology”, Riccardo Storti, che rivisita Alberto Radius, Fabri- zio Poggi, titolare dell’angolo blues, e Gianni Sapia che sviscera l’opera prima di Marcello Faranna. -
Why Am I Doing This?
LISTEN TO ME, BABY BOB DYLAN 2008 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, RECORDINGS & BOOKS. © 2011 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Listen To Me, Baby — Bob Dylan 2008 page 2 of 133 1 INTRODUCTION .................................................................................................................................................................. 4 2 2008 AT A GLANCE ............................................................................................................................................................. 4 3 THE 2008 CALENDAR ......................................................................................................................................................... 5 4 NEW RELEASES AND RECORDINGS ............................................................................................................................. 7 4.1 BOB DYLAN TRANSMISSIONS ............................................................................................................................................... 7 4.2 BOB DYLAN RE-TRANSMISSIONS ......................................................................................................................................... 7 4.3 BOB DYLAN LIVE TRANSMISSIONS ..................................................................................................................................... -
Omega Auctions Ltd Catalogue 28 Apr 2020
Omega Auctions Ltd Catalogue 28 Apr 2020 1 REGA PLANAR 3 TURNTABLE. A Rega Planar 3 8 ASSORTED INDIE/PUNK MEMORABILIA. turntable with Pro-Ject Phono box. £200.00 - Approximately 140 items to include: a Morrissey £300.00 Suedehead cassette tape (TCPOP 1618), a ticket 2 TECHNICS. Five items to include a Technics for Joe Strummer & Mescaleros at M.E.N. in Graphic Equalizer SH-8038, a Technics Stereo 2000, The Beta Band The Three E.P.'s set of 3 Cassette Deck RS-BX707, a Technics CD Player symbol window stickers, Lou Reed Fan Club SL-PG500A CD Player, a Columbia phonograph promotional sticker, Rock 'N' Roll Comics: R.E.M., player and a Sharp CP-304 speaker. £50.00 - Freak Brothers comic, a Mercenary Skank 1982 £80.00 A4 poster, a set of Kevin Cummins Archive 1: Liverpool postcards, some promo photographs to 3 ROKSAN XERXES TURNTABLE. A Roksan include: The Wedding Present, Teenage Fanclub, Xerxes turntable with Artemis tonearm. Includes The Grids, Flaming Lips, Lemonheads, all composite parts as issued, in original Therapy?The Wildhearts, The Playn Jayn, Ween, packaging and box. £500.00 - £800.00 72 repro Stone Roses/Inspiral Carpets 4 TECHNICS SU-8099K. A Technics Stereo photographs, a Global Underground promo pack Integrated Amplifier with cables. From the (luggage tag, sweets, soap, keyring bottle opener collection of former 10CC manager and music etc.), a Michael Jackson standee, a Universal industry veteran Ric Dixon - this is possibly a Studios Bates Motel promo shower cap, a prototype or one off model, with no information on Radiohead 'Meeting People Is Easy 10 Min Clip this specific serial number available. -
Klaus Schulze
im Auftrag: medienAgentur Stefan Michel T 040-5149 1467 [email protected] KLAUS SCHULZE Klaus Schulze wurde 1947 in Berlin geboren, tauchte während der 1960er-Jahre in die dortige Underground-Szene ein und spielte Bass, Gitarre und Schlagzeug in verschiedenen Bands. 1970 und 1971 veröffentlichte er Alben mit Tangerine Dream und Ash Ra Tempel, stieg bei beiden Gruppen jedoch bald wieder aus. In den folgenden Jahren sollten diese eine neue deutsche Musik definieren, die international als Krautrock oder Kosmische Musik verehrt wurde. Schulze tat dasselbe, auf seine eigene Art – seine musikalische Vision war derart mächtig und ambitioniert, dass er sie nur im Alleingang umsetzen konnte. Inspiriert von Pink Floyd und Richard Wagner formte er fremdartige Sounds zu ausufernden Kunstwerken. Schon bevor er gewöhnliche Synthesizer in seiner Musik einsetzte, entwarf er auf „Irrlicht“ (1972) episch orchestrale Klanglandschaften, die auf seinen vielen weiteren Alben der 1970er-Jahre wie dem Meisterwerk „Timewind“ (1975) immer elektronischer und hypnotischer ausfielen. Diese Alben gelten längst als Meilensteine und machten Schulze zu einem der wichtigsten Vertreter der „Berliner Schule“. Es gibt kaum ein Ambient- oder Electronica-Album der letzten 25 Jahre, auf dem der Einfluss von Klaus Schulze nicht zu hören ist: seine abstrakten Atmosphären, die übernatürlichen Flächen, der mystische Futurismus, den er mit seinem Synthesizer- und Keyboard-Arsenal heraufbeschwor. Damals passte Schulzes Musik perfekt in das goldene Zeitalter der Science Fiction, heute klingt sie schlichtweg nach zeitloser Ewigkeit. Schulze machte Musik, die es so noch nicht gegeben hatte. Manche nannten es Kosmische Musik, andere priesen Schulze als den Wegbereiter von New Age. Irgendwo zwischen Ambient, experimenteller Musik und klassischer Komposition schuf er sphärische Sound-Meditationen, die immer wieder neue, phantastische Welten erkundeten. -
Könnyűzene” Történetéből Sinkó Dániel Tartalomjegyzék
14 kiemelkedő év a „könnyűzene” történetéből Sinkó Dániel Tartalomjegyzék: Előszó ….......................................................................…….. 3 1979-Pink Floyd, The Wall...................................................... 6 1980-Genesis, Duke ............................................................. 17 1981-Szabó Gábor, Femme Fatale........................................... 25 1981- King Crimson, Discipline …………………………….. 30 1982-Miles Davis, We want Miles.......................................... 39 1983-Yes, 90125 ....................................................................... 46 1983- Manfred Mann Earth Band, Somewhere in Africa ….... 53 1984-Pat Metheny, First circle …............................................… 60 1985- Dire Straits, Brothers in Arms …...................................… 67 1986-Peter Gabriel, So …........................................................... 75 1986-Paul Simon Graceland…………………………………….. 85 1987-U2, The Joshua tree.......................................................... 96 1987-Sting, Nothing Like the sun............................................. 105 1988-Pink Floyd, Delicate Sound of thunder............................. 114 1989-Jeff Beck, Guitar shop. …............................................... 123 1990- Phish, Lawn Boy …....................................................... 129 1991- U2, Achtung Baby........................................................ 134 1992- R.E.M., Automatic for the people …............................ 146 1992- Mike Oldfield, Tubular -
Villa-Lobos Tom Jobim
Centro de Pesquisa e Documentação de História Contemporânea do Brasil Programa de Pós-Graduação em História, Política e Bens Culturais Mestrado Profissionalizante em Bens Culturais e Projetos Sociais Villa-Lobos Edu Lobo: o Terceiro Vértice Tom Jobim Mestranda: Mônica Chateaubriand Diniz Pires e Albuquerque Orientador: Prof. Dr. Celso Castro Co-orientador: Profa. Dra. Santuza Cambraia Naves Rio de Janeiro fevereiro de 2006 ii Edu Lobo estabeleceu a síntese em movimento. Carioca filho de pernambucano, teve a diversidade ao alcance das mãos. Outros também a tiveram. Seu gênio permitiu-lhe aproveitá-la melhor do que qualquer outro de sua época e compor uma tradução musical de sua gente como a que haviam logrado Villa-Lobos e Jobim. Edu é a terceira ponta da trindade da música brasileira contemporânea. Mauro Dias (Edu Lobo Songbook) iii Ao Carlos Alberto, por todo o carinho e incentivo e por me dar as mãos nesta busca de crescimento. "Eu te amo e te proclamo o meu amor” iv AGRADECIMENTOS Ao CPDOC, na pessoa de meus professores Eduardo Sarmento, Celso Castro, Dulce Pandolfi, Fernando Weltman, Mônica Kornis e em especial à professora Angela de Castro Gomes. À PUC, pela oportunidade em cursar uma disciplina para o mestrado. Aos entrevistados, que carinhosamente colaboraram com a proposta deste trabalho. À professora Marieta de Moraes Ferreira, por aceitar o convite para fazer parte da minha banca. Ao Tribunal de Contas do Estado do Rio de Janeiro na pessoa do conselheiro presidente José Gomes Graciosa, por proporcionar condições para que este mestrado se tornasse realidade. À Ana Maria Soares Skowronski, por acreditar em mim. -
An Interview with the Authors, Joshua Berrett and Louis G. Bourgois III -- and the Eminent J.J
An Interview With The Authors, Joshua Berrett And Louis G. Bourgois III -- And The Eminent J.J. Johnson November 1999 By Victor L. Schermer http://www.allaboutjazz.com/iviews/jjjohnson.htm AAJ: Congratulations to Josh and Louis on your new book- and to J.J. for now having a scholarly reference devoted to your outstanding contributions to music. Just for the fun of it, which three recordings and/or scores would you take to the proverbial desert island, if they were to be your only sources of music there? J.J. Johnson: Hindemith's Mathis der Maler, Ravel's Daphnis and Chloe. Any of the Miles Davis Quintet recordings that include Coltrane, Paul Chambers, Philly Joe, and Red Garland. In my opinion, contemporary jazz music does not get any better, or any more quintessential than that Quintet's live appearances or the recorded legacy that they left for us to enjoy. Louis Bourgois: The scores I'd take would be: Aaron Copland, Third Symphony (CD: St. Louis Symphony Orchestra, Leonard Slatkin conductor: Angel CDM7643042);. Leonard Bernstein, Chichester Psalms (CD: Atlanta Symphony Orchestra and Chorus, Robert Shaw, conductor; TelArc Digital CD80181). And a Compact Disc: Miles Davis Kind of Blue (Columbia CK40579). I would sneak a few more ;-), including Hindemith, Mathis der Maler, which J.J. mentioned. Joshua Berrett: My tastes here are very similar to J.J's: a mix of classical music and jazz. I would single out Brahms' Symphony No. 2, Stravinsky's Rite of Spring, and Miles Davis' sessions with Coltrane and company. THE BOOK AND ITS AUTHORS AAJ: Josh and Louis, tell us a bit about your musical background. -
Psaudio Copper
Issue 95 OCTOBER 7TH, 2019 Welcome to Copper #95! This is being written on October 4th---or 10/4, in US notation. That made me recall one of my former lives, many years and many pounds ago: I was a UPS driver. One thing I learned from the over-the- road drivers was that the popular version of CB-speak, "10-4, good buddy" was not generally used by drivers, as it meant something other than just, "hi, my friend". The proper and socially-acceptable term was "10-4, good neighbor." See? You never know what you'll learn here. In #95, Professor Larry Schenbeck takes a look at the mysteries of timbre---and no, that's not pronounced like a lumberjack's call; Dan Schwartz returns to a serious subject --unfortunately; Richard Murison goes on a sea voyage; Roy Hall pays a bittersweet visit to Cuba; Anne E. Johnson’s Off the Charts looks at the long and mostly-wonderful career of Leon Russell; J.I. Agnew explains how machine screws brought us sound recording; Bob Wood continues wit his True-Life Radio Tales; Woody Woodward continues his series on Jeff Beck; Anne’s Trading Eights brings us classic cuts from Miles Davis; Tom Gibbs is back to batting .800 in his record reviews; and I get to the bottom of things in The Audio Cynic, and examine direct some off-the-wall turntables in Vintage Whine. Copper #95 wraps up with Charles Rodrigues on extreme room treatment, and a lovely Parting Shot from my globe-trotting son, Will Leebens.