DOCSLIB.ORG

The Rolling Stones

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Rolling Stones ROCK AND ROLL HALL OF FAME The Rolling Stones By Michael Hill M a y 1965: In a Florida hotel room, Keith Richards wakes up hearing a Richards had been childhood acquaintances but had drifted apart when riff in his head that he has to play for M ickjagger immediately. The pair Richards’s family moved out o f the neighborhood. The pair resumed their begin to work on a song that initially has a folkish feel but takes on a more friendship in 1960, after Richards, a technical-school dropout, bumped hard-edged shape a few days later at Chicago’s Chess Studio. W ithin a into Jagger, a student at the London School o f Economics, on a local train week, it’s completed at the R C A Studios in H ollywood. The song is and noticed the blues albums Jagger was carrying. The enterprising Jagger “Satisfaction,” and it’s destined for inclusion in their new album, Out o f was a serious collector, writing away to Chess Records, in Chicago, for ti­ O u r Heads. It’s also destined, with a deft leap to the top o f the American des he couldn’t secure at home, and he already fronted a group called Lit­ charts, to be the band’s first Number One, to define, decisively and dra­ tle Boy Blue and the Blue Boys. matically, the sound and die attitude o f the Rolling Stones. Richards, w ho leaned more to Chuck Berry’s rock fe? roll and the Even­ They had always wanted to sing the blues, and now they were do­ ly Brothers’ country-inflected pop, soon became a Blue Boy himself, as ing it - in their own fashion, with their own voice and with their own w ell as Jagger’s roommate. Together they scoured the London blues words. It was a different sort o f blues, for sure: “Satisfaction” simulta­ scene, which centered on the Ealing Club and its house band, Blues In­ neously suggested a pop star’s premature world-weariness, a consum­ corporated, featuring “the grandfather o f British rock,” Alexis Komer. It er’s constant confusion and a lover’s frustrated desire - set to the was there that Jagger and Richards first saw the already up-and-coming meanest groove east o f Detroit. On the surface, “ Satisfaction” was guitarist Brian Jones. They became fast friends, carousing, living and per­ crude and sexy, but beyond Jagger’s snarls and slurs and a riff that forming together. The trio, accompanied by Ian Stewart and Tony Chap­ would launch a thousand combos, the song was savvy and cynical, jab­ man, even recorded a demo tape, which was promptly rejected by EMI. bing social commentary wrapped in adolescent petulance. A s Jagger’s and Richards’s talents became apparent, they were wel­ The blues had brought the Rolling Stones together. Jagger and 9 comed into Komer’s musical circle. Jagger and Richards sat in with m ROCK AND ROLL. HALL OF FAME The Rolling Stones Blues Incoporated (although purists remained wary o f Komer’s predileo- Brian Epstein. Just as Epstein had happened upon tire Beatles at the C av­ tion for rock fe? roll). Blues Incorporated graduated to the larger Marquee ern Club and insisted then and there that he manage the group, Oldham Club, and that was where the earliest version o f the Rolling Stones made instantly saw in the Stones a chance to exploit the “opposite to what the its debut on July 12th, 1962. Beatles were doing,” something more raw, rough and even a little danger' Komer had skipped his usual gig to perform on a live BBC-radio broad' ous. “I was about forty'eight hours ahead o f the rest o f the business in cast, so J agger, who hadn’t been invited along, took the opportunity to getting there,” Oldham told the ls[ew Musical Express ten years later. The book himself, Richards, Jones, bassist Dick Taylor (a Blue Boy who later Stones, especially Jones, were impressed by Oldham’s brashness and felt joined the Pretty Things), drummer M ick Avory (who became a Kink) comfortable with his youth. Oldham brought in an older investor, Eric and keyboardist Ian Stewart (who would remain a behind'the'scenes Easton, and then set about making the Rolling Stones famous. Stone). For subsequent gigs, they advertised themselves as “Brian Jones Getting a record deal this time around wasn’t particularly difficult. and M ick Jagger and the Rollin’ Stones,” their group name paying horn' Dick Rowe, an Aèr’R man from Decca, known in the industry for having age to M uddy W aters in the way the Beatles’ moniker saluted Buddy turned down the Beatles, wasn’t about to lose out again after he received Holly’s Crickets, and they began to create a small stir for their unlikely a casual tip from George Harrison during a talent contest they were both mélange o f American blues and current Rfer’B. judging. Harrison had cornei» the Crawdaddy and liked what he saw. A The three principals carried on with a revolving'door rhythm section week after the Stones signed their contract with Oldham, they were in until they convinced a rather skeptical Charlie W atts, a former drummer Olympic Recording Studios, cutting their first sides for Decca - with for Blues Incorporated, to sign on. They auditioned an equally cautious Oldham, w ho had never before set foot in a studio, producing. Bill W ym an, whose professionaMooking amplifier, as w ell as his bass The result was their debut single, Chuck Berry’s “Come On,” backed playing, made him the most attractive candidate. with W illie Dixon’s “I W antrto Be Loved,” which reached Number In February 1963 iconoclastic entrepreneur Giorgio Gomelsky offered Twenty'one on the U.K. charts, and the Stones appeared on the T V the Stones a regular gig at his new Crawdaddy Club, at the Station Ho- sh o w Thank Tour Lucky Stars. One of the show’s producers took Old' tel, in Richmond. (The original house band, the Dave Hunt Rhythm 6? ham aside and advised him to dump “that viledooking singer with tire' Blues Band, featuring a guitarist named Ray Davies, was sacked after it tread lips.” They also scored a supporting berth on tour with the Everly failed to show up one night.) The Stones attracted a growing following o f Brothers and Bo Diddley. The follow'Up single, “I W anna Be Your fans, as w ell as fellow musicians, including various Beatles, and curious Man,” which cracked the British Top Twenty, had been given to them members o f the press. by its writers, John Lennon and Paul McCartney. They also attracted an ambitious nineteenyearold named Andrew In January 1964 the Stones began their first headlining U.K. Loog Oldham, then employed as a press officer by Beatles manager 10 tour, accompanied by the Ronettes. Phil Spector saw sufficient ROCK AND R □ L l_ HALL DF FAME The Rolling Stones threat in the Stones’ image to send them a telegram ordering them to their hip suburban peers could understand. “stay away from my girls.” The Stones’ third single, a version o f Bud' Then came “Satisfaction.” dy Holly’s “N ot Fade Away,” made it to Number Three in Britain and Jagger and Richards won an audience beyond teens looking for new provided a modest entry to American radio via London Records. Ah frve raves to call their own. College kids, critics and assorted hipsters be' though Spector may have wanted to keep the Stones at bay where the gan to appreciate the Stones’ rebelliousness, arrogance, intensity and dew Ronettes were concerned, he was impressed w ith their music. He il'tnay'care look. They were the prototype for a new kind of youth style played maracas on “N ot Fade Aw ay” and co-wrote the B side, “Little that would evolve and grow as the music exerted an ever more powerful By Little,” w ith the group. influence on mores as w ell as fashion. The acclaim o f this burgeoning au' Spector also sat in on the sessions for the group’s first LP, The Rolling dience would be matched by outrage from the powers that be; even O ld' S tones. Released in April 1964, on Decca, the album caused a sensation ham would not be able to contain things once the press, not to mention throughout England. It knocked the Beatles from the top o f the charts the police, turned ugly. and generated both excitement and controversy for its interpretations o f In 1965 the Stones’ troubles remained fairly innocuous: they were the work o f such black American songwriters as Chuck Berry, Slim summoned to court for urinating on a gas'Station wall after they were re' Harpo, Jimmy Reed and Bo Diddley. Jagger responded those who fused admittance to the restroom. (They were ultimately fined three doubted the seriousness o f the group’s intentions in a letter to M elod y pounds each for “insulting behavior.”) “Satisfaction,” too, had the dis' M a\er: “To the critics, them, who think w e’re a beat group who came up tinction o f being banned on many American radio stations for its alleged' overnight, knowing nothing about it, w e invite them to examine o u r r e c' ly suggestive lyrics. (Thanks to Jagger’s delivery, programmers seemed ord collection. It contains things by Jimmy Reed, Elmore James, Hooker more frightened o f what they couldn’t understand than the lyrics they and a stack o f private tapes by Little W alter.....” could decipher.) However pure the Stones’ musical aspirations might have been at A fterm a th , released in April 1966, was the first Stones album to com the time, the adult public was unanimous in its shock at the seeming tain all Jagger-Richards originals.
Load more

Recommended publications
  • Brian Jones: the Making of the Rolling Stones by Paul Trynka Book
    Brian Jones: The Making of the Rolling Stones by Paul Trynka book Ebook Brian Jones: The Making of the Rolling Stones currently available for review only, if you need complete ebook Brian Jones: The Making of the Rolling Stones please fill out registration form to access in our databases Download here >> Paperback:::: 384 pages+++Publisher:::: Plume; Reprint edition (November 3, 2015)+++Language:::: English+++ISBN-10:::: 0147516455+++ISBN-13:::: 978-0147516459+++Product Dimensions::::5.4 x 0.8 x 8 inches++++++ ISBN10 0147516455 ISBN13 978-0147516 Download here >> Description: “Should be unfailingly interesting to any Stones fan.”—Larry Rhoter, New York TimesThe Rolling Stones’ rise to fame is one of rock ‘n’ roll’s epic stories. Yet one crucial part of that story has never been fully told: the role of Brian Jones, the visionary who founded the band and meticulously controlled their early sound, only to be dethroned by Mick Jagger and Keith Richards. Tormented by paranoia and drug problems, Jones drowned at the age of twenty-seven. Drawing on new information and interviews with Richards, Andrew Oldham, and Marianne Faithfull, among dozens of others, Brian Jones lays bare the Rolling Stones’ full story, in all its glory and squalor. By far and away the best book ever written about Brian Jones. Paul Trynka interviewed over 100 people. He spends quite a lot of time on Brians very early days in Cheltenham England. He covers his family life, his social life, his rebellious life and most importantly his musical life. All this before he even hit London where he impressed everyone with his incredible slide guitar.
    [Show full text]
  • Queen of the Blues © Photos AP/Wideworld 46 D INAHJ ULY 2001W EASHINGTONNGLISH T EACHING F ORUM 03-0105 ETF 46 56 2/13/03 2:15 PM Page 47
    03-0105_ETF_46_56 2/13/03 2:15 PM Page 46 J Queen of the Blues © Photos AP/WideWorld 46 D INAHJ ULY 2001W EASHINGTONNGLISH T EACHING F ORUM 03-0105_ETF_46_56 2/13/03 2:15 PM Page 47 thethe by Kent S. Markle RedRed HotHot BluesBlues AZZ MUSIC HAS OFTEN BEEN CALLED THE ONLY ART FORM J to originate in the United States, yet blues music arose right beside jazz. In fact, the two styles have many parallels. Both were created by African- Americans in the southern United States in the latter part of the 19th century and spread from there in the early decades of the 20th century; both contain the sad sounding “blue note,” which is the bending of a particular note a quar- ter or half tone; and both feature syncopation and improvisation. Blues and jazz have had huge influences on American popular music. In fact, many key elements we hear in pop, soul, rhythm and blues, and rock and roll (opposite) Dinah Washington have their beginnings in blues music. A careful study of the blues can contribute © AP/WideWorld Photos to a greater understanding of these other musical genres. Though never the Born in 1924 as Ruth Lee Jones, she took the stage name Dinah Washington and was later known leader in music sales, blues music has retained a significant presence, not only in as the “Queen of the Blues.” She began with singing gospel music concerts and festivals throughout the United States but also in our daily lives. in Chicago and was later famous for her ability to sing any style Nowadays, we can hear the sound of the blues in unexpected places, from the music with a brilliant sense of tim- ing and drama and perfect enun- warm warble of an amplified harmonica on a television commercial to the sad ciation.
    [Show full text]
  • Course Outline and Syllabus the Fab Four and the Stones: How America Surrendered to the Advance Guard of the British Invasion
    Course Outline and Syllabus The Fab Four and the Stones: How America surrendered to the advance guard of the British Invasion. This six-week course takes a closer look at the music that inspired these bands, their roots-based influences, and their output of inspired work that was created in the 1960’s. Topics include: The early days, 1960-62: London, Liverpool and Hamburg: Importing rhythm and blues and rockabilly from the States…real rock and roll bands—what a concept! Watch out, world! The heady days of 1963: Don’t look now, but these guys just might be more than great cover bands…and they are becoming very popular…Beatlemania takes off. We can write songs; 1964: the rock and roll band as a creative force. John and Paul, their yin and yang-like personal and musical differences fueling their creative tension, discover that two heads are better than one. The Stones, meanwhile, keep cranking out covers, and plot their conquest of America, one riff at a time. The middle periods, 1965-66: For the boys from Liverpool, waves of brilliant albums that will last forever—every cut a memorable, sing-along winner. While for the Londoners, an artistic breakthrough with their first all--original record. Mick and Keith’s tempestuous relationship pushes away band founder Brian Jones; the Stones are established as a force in the music world. Prisoners of their own success, 1967-68: How their popularity drove them to great heights—and lowered them to awful depths. It’s a long way from three chords and a cloud of dust.
    [Show full text]
  • Sunday Nights with Walt Everything I Know I Learned from “The Wonderful World of Disney”
    Sunday Nights with Walt Everything I Know I Learned from “The Wonderful World of Disney” Richard Rothrock Theme Park Press The Happiest Books on Earth www.ThemeParkPress.com Contents Introduction vii 1 “And Now Your Host, Walt Disney” 1 2 A Carousel of Color 9 3 A Carousel of American History 21 4 Adventures in Nature 49 Commercial Break: Making Mom’s Pizza 69 5 Life Lessons and Journeys with Our Pets and Horses 71 6 A Carousel of Fabulous, Faraway Places 89 7 Walt and His Park 109 8 The Show after Walt 119 Commercial Break: Fads and Evolutions 125 9 Solving a Mystery 129 10 Growing Up 143 11 Discovering the Classics 165 Commercial Break: Rich’s Top Ten 177 12 Learning the Ropes of Romance 179 13 Embracing the Future 191 Afterword 209 Acknowledgements 213 About the Author 215 About Theme Park Press 217 Introduction Growing up in the 1960s and 1970s, Sunday nights at my house were different from the other nights of the week. It was the only night when my mother made pizza. It was the only night of the week when we could drink soda. It was the only night of the week when we could have candy for dessert. Iit was the only night of the week when we were allowed to eat dinner in front of the television. And the only shows we ever watched were Mutual of Omaha’s Wild Kingdom and The Wonderful World of Disney. (Mom sent us to bed as soon as Bonanza started.) For almost the entirety of my childhood, The Wonderful World of Disney was always there, even as I grew from a boy to a young man of eighteen, and even as my family moved from the small towns and farms of rural Indiana to the coal and steel towns of West Virginia to the towering spires of the Motor City in Michigan.
    [Show full text]
  • 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.
    [Show full text]
  • 1950S Culture Webquest Description: Created to Allow Students to Explore 1950S Culture
    1950s Culture WebQuest Description: Created to allow students to explore 1950s culture. Grade Level: 9-12 Curriculum: Social Studies Keywords: 1950s, fifties, pop-culture Published On: 2008-03-01 09:50:33 Last Modified: 2008-02-29 08:10:21 WebQuest URL: http://zunal.com/webquest.php?w=8063 You will participating in a webquest to explore the culture and trends of the 1950s.  The various websites will present you with information on everything from Levittown to the censorship of Elvis.  Take your time going through the sites and remember to record your answers on your worksheet.   Follow the instructions on the next page to navigate through the website.  Record your answers on the worksheet provided. Welcome to the 1950s! Through this webquest you will be exploring the culture and trends of the 1950s. Remember to record what you find on your worksheet. 1. Congratulations! You have just been married. Take a look at this Home Economics textbook to find some tips on how to be the perfect housewife.2. Time to move to the suburbs! You and your spouse have decided to buy a house in Levittown, PA. Look at the four different models and decide which one fits your style and needs best.3. You need a new car to park in your new garage. Check out these classic cars and choose one you would like to have.4. To celebrate buying a new car you and your spouse decide to go to the drive-in for dinner and a movie. Click on the link above to read more about the drive-in.
    [Show full text]
  • Red Lightnin Brochure
    ESTABLISHED IN 1968 AS PURVEYORS OF CONTEMPORARY BLUES, OUR EDICT IS TO PUSH BLUES TO THE LIMIT! AS THE MOST INFLUENTIAL MUSICAL FORM RED LIGHTNIN’ OF THE 20TH CENTURY. THE ROLE OF THE BLUES CAN BE FOUND IN ALL FORMS OF The White House, MUSIC. THE BLUES MUST AND WILL ADAPT 42 The Street, TO THE FUTURE SOCIAL CLIMATE, AFTER North Lopham, ALL, THE PROBLEMS AND HENCE THE LYRICS THAT BLUES DERIVED FROM HAVE Diss, Norfolk, ’T L NOT ALTERED - ONLY THE TECHNOLOGY IP22 2LU, UK AN OS HAS! C E” TEL: 44 1379 687693 U WE HAVE OVER 1500 + MASTERS AVAILABLE FAX: 44 1379 687559 O AND CAN FILL ALL YOUR REQUIREMENTS FOR Mobile: 07710 230226 Y COMPILATIONS, LICENSING, ADVERTISING, S PREMIUM PRODUCTS, FILM, TV,, Email: [email protected] E PROMOTIONS, INTERNET, ETC. www.redlightnin.com U L B E KEEP THE TRAIN S E H T AROLLING, L © 2007 L A BUY BIGGER, H T I W “ BUY BETTER - BUY BLUES!! ARTIST’S INCLUDE: - ALBERT COLLINS• JOHN LEE HOOKER• BIG WALTER "SHAKEY" HORTON ( 2.5 discs worth)• EARL HOOKER• BILLY BOY ARNOLD• MUDDY WATERS• JOHNNY OTIS• JIMMY WITHERSPOON (with Duke Robbilard)• KING BISCUIT BOY ( 2 discs)• SCREAMING JAY HAWKINS• BUSTER BENTON & CAREY BELL• TROYCE KEY & JJ MALONE• BIG JOE WILLIAMS• LITTLE BROTHER MONTGOMERY• SMOKEY LOGG• THE MIGHTY HOUSEROCKERS• ROY GAINES & CRUSADERS• LUTHER ALLISON• TOMMY TUCKER• CHARLIE MUSSELWHITE• ISAAC SCOTT• OTIS RUSH• MARIA MULDAUR• LONG JOHN BALDRY• BRIAN KNIGHT• IKE TURNER• EDDIE CLEARWATER• JIMMY JOHNSON• MAGIC SLIM• BUDDY GUY & JUNIOR WELLS• MISSISSIPPI FRED McDOWELL• MEMPHIS SLIM• MATT 'GUITAR' MURPHY• SONNY BOY WILLIAMSON• PHIL GUY• LOUISIANA RED• PAUL deLAY BAND• UP WILSON• PAUL ORTA• CLARENCE EDWARDS• JIMMY REED• ROOSEVELT SYKES• PROFESSOR LONGHAIR• JO-EL SONNIER• AMOS GARRETT• DOUG SAHM• HANS THEESINK• PETER GREEN & MICK GREEN• BRIAN KNIGHT with MICKEY MOODY (WHITESNAKE)• LIGHTNIN' HOPKINS BREWERS DROOP with MARK KNOPFLER• THE ENEMY WITHIN FEATURING GYPIE MAYO• LOUISIANA BOB KIRKPATRICK• ETC,.
    [Show full text]
  • 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.
    [Show full text]
  • Gonzo Weekly #165
    Subscribe to Gonzo Weekly http://eepurl.com/r-VTD Subscribe to Gonzo Daily http://eepurl.com/OvPez Gonzo Facebook Group https://www.facebook.com/groups/287744711294595/ Gonzo Weekly on Twitter https://twitter.com/gonzoweekly Gonzo Multimedia (UK) http://www.gonzomultimedia.co.uk/ Gonzo Multimedia (USA) http://www.gonzomultimedia.com/ 3 gave it, when we said that it was his best album since Scary Monsters back in 1980. Yes, I think that it probably was, although the 2002 album Heathen gives it a run for its money, but with the benefit of hindsight, it still lacked the hallmarks of a classic David Bowie album, mainly because it didn't break new ground. Between 1969 and 1980 Bowie released thirteen studio albums which basically defined the decade. With the possible exception of Lodger which was basically bollocks, IMHO, each of these albums not only broke new ground, but was a significant advance upon the one that came before it. Bowie defined the concept of the rock star as artist, and where he led many others followed. Each of his stylistic changes spawned a hundred imitators. In the wake of Ziggy Stardust and Aladdin Sane came dozens of glam bands, most of them totally missing the point, and schoolboys across the United My dear friends, Kingdom sported Ziggy haircuts. His plastic soul period not only persuaded his loyal legions that Luther Vandross was where it was at, but also meant that the 2016 is only a couple of weeks old, but we already high street outfitters were full of Oxford Bags and have the first major cultural event of the year.
    [Show full text]
  • Letter from the Chair Contents
    LETTER FROM THE CHAIR May I welcome you to your Summer Tidings as the 12th Chairman of the Society? A big thank you to everyone at the AGM who voted me into the chair and voted for the talented Alan Benns to be our 10th Vice Chairman. You can read more about Alan inside and our two newest group leaders: James Sinclair and Andy Weston. We have a busy time ahead with Teddington in Flower, The Village Fair and Pram Race and the River Festival. We hope most of you will take part either by attending the events or helping us run our stall. We have a new venture at the Park Hotel and that's Afternoon Cream Teas. Bring your friends along and try it out for the first time on June 3rd or come alone and make new friends. The council have taken it upon themselves to put free hanging baskets in each village to complement the Rugby World Cup. Baskets will be planted in World Cup colours - blue, pink and white. We will get 50 placed in the High Street, Broad Street, Victoria Road and Station Road from May-October. We will get 16 baskets in the winter. The Landmark Arts Centre is celebrating its 20th anniversary in November by installing 5 decorative panels telling the history of the building. The Society has donated £500 towards the £2,000 needed for the task. The vinyl panels put up by LBRuT to conceal the derelict Bottoms Up site in the Causeway have been removed as the site is being refurbished at long last.
    [Show full text]
  • Dec. 22, 2015 Snd. Tech. Album Arch
    SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London.
    [Show full text]
  • The Rolling Stones and Performance of Authenticity
    University of Kentucky UKnowledge Theses and Dissertations--Art & Visual Studies Art & Visual Studies 2017 FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY Mariia Spirina University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.135 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Spirina, Mariia, "FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY" (2017). Theses and Dissertations--Art & Visual Studies. 13. https://uknowledge.uky.edu/art_etds/13 This Master's Thesis is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Art & Visual Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]