February 25, 1977 Madison College
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Vinyls-Collection.Com Page 1/222 - Total : 8629 Vinyls Au 05/10/2021 Collection "Artistes Divers Toutes Catã©Gorie
Collection "Artistes divers toutes catégorie. TOUT FORMATS." de yvinyl Artiste Titre Format Ref Pays de pressage !!! !!! LP GSL39 Etats Unis Amerique 10cc Windows In The Jungle LP MERL 28 Royaume-Uni 10cc The Original Soundtrack LP 9102 500 France 10cc Ten Out Of 10 LP 6359 048 France 10cc Look Hear? LP 6310 507 Allemagne 10cc Live And Let Live 2LP 6641 698 Royaume-Uni 10cc How Dare You! LP 9102.501 France 10cc Deceptive Bends LP 9102 502 France 10cc Bloody Tourists LP 9102 503 France 12°5 12°5 LP BAL 13015 France 13th Floor Elevators The Psychedelic Sounds LP LIKP 003 Inconnu 13th Floor Elevators Live LP LIKP 002 Inconnu 13th Floor Elevators Easter Everywhere LP IA 5 Etats Unis Amerique 18 Karat Gold All-bumm LP UAS 29 559 1 Allemagne 20/20 20/20 LP 83898 Pays-Bas 20th Century Steel Band Yellow Bird Is Dead LP UAS 29980 France 3 Hur-el Hürel Arsivi LP 002 Inconnu 38 Special Wild Eyed Southern Boys LP 64835 Pays-Bas 38 Special W.w. Rockin' Into The Night LP 64782 Pays-Bas 38 Special Tour De Force LP SP 4971 Etats Unis Amerique 38 Special Strength In Numbers LP SP 5115 Etats Unis Amerique 38 Special Special Forces LP 64888 Pays-Bas 38 Special Special Delivery LP SP-3165 Etats Unis Amerique 38 Special Rock & Roll Strategy LP SP 5218 Etats Unis Amerique 45s (the) 45s CD hag 009 Inconnu A Cid Symphony Ernie Fischbach And Charles Ew...3LP AK 090/3 Italie A Euphonius Wail A Euphonius Wail LP KS-3668 Etats Unis Amerique A Foot In Coldwater Or All Around Us LP 7E-1025 Etats Unis Amerique A's (the A's) The A's LP AB 4238 Etats Unis Amerique A.b. -
Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious. -
Sound Recording in the British Folk Revival: Ideology, Discourse and Practice, 1950–1975
Sound recording in the British folk revival: ideology, discourse and practice, 1950–1975 Matthew Ord Submitted in fulfilment of the degree of PhD International Centre for Music Studies Newcastle University March 2017 Abstract Although recent work in record production studies has advanced scholarly understandings of the contribution of sound recording to musical and social meaning, folk revival scholarship in Britain has yet to benefit from these insights. The revival’s recording practice took in a range of approaches and contexts including radio documentary, commercial studio productions and amateur field recordings. This thesis considers how these practices were mediated by revivalist beliefs and values, how recording was represented in revivalist discourse, and how its semiotic resources were incorporated into multimodal discourses about music, technology and traditional culture. Chapters 1 and 2 consider the role of recording in revivalist constructions of traditional culture and working class communities, contrasting the documentary realism of Topic’s single-mic field recordings with the consciously avant-garde style of the BBC’s Radio Ballads. The remaining three chapters explore how the sound of recorded folk was shaped by a mutually constitutive dialogue with popular music, with recordings constructing traditional performance as an authentic social practice in opposition to an Americanised studio sound equated with commercial/technological mediation. As the discourse of progressive rock elevated recording to an art practice associated with the global counterculture, however, opportunities arose for the incorporation of rock studio techniques in the interpretation of traditional song in the hybrid genre of folk-rock. Changes in studio practice and technical experiments with the semiotics of recorded sound experiments form the subject of the final two chapters. -
“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. -
Festival 30000 LP SERIES 1961-1989
AUSTRALIAN RECORD LABELS FESTIVAL 30,000 LP SERIES 1961-1989 COMPILED BY MICHAEL DE LOOPER AUGUST 2020 Festival 30,000 LP series FESTIVAL LP LABEL ABBREVIATIONS, 1961 TO 1973 AML, SAML, SML, SAM A&M SINL INFINITY SODL A&M - ODE SITFL INTERFUSION SASL A&M - SUSSEX SIVL INVICTUS SARL AMARET SIL ISLAND ML, SML AMPAR, ABC PARAMOUNT, KL KOMMOTION GRAND AWARD LL LEEDON SAT, SATAL ATA SLHL LEE HAZLEWOOD INTERNATIONAL AL, SAL ATLANTIC LYL, SLYL, SLY LIBERTY SAVL AVCO EMBASSY DL LINDA LEE SBNL BANNER SML, SMML METROMEDIA BCL, SBCL BARCLAY PL, SPL MONUMENT BBC BBC MRL MUSHROOM SBTL BLUE THUMB SPGL PAGE ONE BL BRUNSWICK PML, SPML PARAMOUNT CBYL, SCBYL CARNABY SPFL PENNY FARTHING SCHL CHART PJL, SPJL PROJECT 3 SCYL CHRYSALIS RGL REG GRUNDY MCL CLARION RL REX NDL, SNDL, SNC COMMAND JL, SJL SCEPTER SCUL COMMONWEALTH UNITED SKL STAX CML, CML, CMC CONCERT-DISC SBL STEADY CL, SCL CORAL NL, SNL SUN DDL, SDDL DAFFODIL QL, SQL SUNSHINE SDJL DJM EL, SEL SPIN ZL, SZL DOT TRL, STRL TOP RANK DML, SDML DU MONDE TAL, STAL TRANSATLANTIC SDRL DURIUM TL, STL 20TH CENTURY-FOX EL EMBER UAL, SUAL, SUL UNITED ARTISTS EC, SEC, EL, SEL EVEREST SVHL VIOLETS HOLIDAY SFYL FANTASY VL VOCALION DL, SDL FESTIVAL SVL VOGUE FC FESTIVAL APL VOX FL, SFL FESTIVAL WA WALLIS GNPL, SGNPL GNP CRESCENDO APC, WC, SWC WESTMINSTER HVL, SHVL HISPAVOX SWWL WHITE WHALE SHWL HOT WAX IRL, SIRL IMPERIAL IL IMPULSE 2 Festival 30,000 LP series FL 30,001 THE BEST OF THE TRAPP FAMILY SINGERS, RECORD 1 TRAPP FAMILY SINGERS FL 30,002 THE BEST OF THE TRAPP FAMILY SINGERS, RECORD 2 TRAPP FAMILY SINGERS SFL 930,003 BRAZAN BRASS HENRY JEROME ORCHESTRA SEC 930,004 THE LITTLE TRAIN OF THE CAIPIRA LONDON SYMPHONY ORCHESTRA SFL 930,005 CONCERTO FLAMENCO VINCENTE GOMEZ SFL 930,006 IRISH SING-ALONG BILL SHEPHERD SINGERS FL 30,007 FACE TO FACE, RECORD 1 INTERVIEWS BY PETE MARTIN FL 30,008 FACE TO FACE, RECORD 2 INTERVIEWS BY PETE MARTIN SCL 930,009 LIBERACE AT THE PALLADIUM LIBERACE RL 30,010 RENDEZVOUS WITH NOELINE BATLEY AUS NOELEEN BATLEY 6.61 30,011 30,012 RL 30,013 MORIAH COLLEGE JUNIOR CHOIR AUS ARR. -
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. -
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in Partial Fulfillment Of
“Whiskey in the Jar”: History and Transformation of a Classic Irish Song Masters Thesis Presented in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate School of The Ohio State University By Dana DeVlieger, B.A., M.A. Graduate Program in Music The Ohio State University 2016 Thesis Committee: Graeme M. Boone, Advisor Johanna Devaney Anna Gawboy Copyright by Dana Lauren DeVlieger 2016 Abstract “Whiskey in the Jar” is a traditional Irish song that is performed by musicians from many different musical genres. However, because there are influential recordings of the song performed in different styles, from folk to punk to metal, one begins to wonder what the role of the song’s Irish heritage is and whether or not it retains a sense of Irish identity in different iterations. The current project examines a corpus of 398 recordings of “Whiskey in the Jar” by artists from all over the world. By analyzing acoustic markers of Irishness, for example an Irish accent, as well as markers of other musical traditions, this study aims explores the different ways that the song has been performed and discusses the possible presence of an “Irish feel” on recordings that do not sound overtly Irish. ii Dedication Dedicated to my grandfather, Edward Blake, for instilling in our family a love of Irish music and a pride in our heritage iii Acknowledgments I would like to thank my advisor, Graeme Boone, for showing great and enthusiasm for this project and for offering advice and support throughout the process. I would also like to thank Johanna Devaney and Anna Gawboy for their valuable insight and ideas for future directions and ways to improve. -
Musikstile Quelle: Alphabetisch Geordnet Von Mukerbude
MusikStile Quelle: www.recordsale.de Alphabetisch geordnet von MukerBude - 2-Step/BritishGarage - AcidHouse - AcidJazz - AcidRock - AcidTechno - Acappella - AcousticBlues - AcousticChicagoBlues - AdultAlternative - AdultAlternativePop/Rock - AdultContemporary -Africa - AfricanJazz - Afro - Afro-Pop -AlbumRock - Alternative - AlternativeCountry - AlternativeDance - AlternativeFolk - AlternativeMetal - AlternativePop/Rock - AlternativeRap - Ambient - AmbientBreakbeat - AmbientDub - AmbientHouse - AmbientPop - AmbientTechno - Americana - AmericanPopularSong - AmericanPunk - AmericanTradRock - AmericanUnderground - AMPop Orchestral - ArenaRock - Argentina - Asia -AussieRock - Australia - Avant -Avant-Garde - Avntg - Ballads - Baroque - BaroquePop - BassMusic - Beach - BeatPoetry - BigBand - BigBeat - BlackGospel - Blaxploitation - Blue-EyedSoul -Blues - Blues-Rock - BluesRevival - Blues - Spain - Boogie Woogie - Bop - Bolero -Boogaloo - BoogieRock - BossaNova - Brazil - BrazilianJazz - BrazilianPop - BrillBuildingPop - Britain - BritishBlues - BritishDanceBands - BritishFolk - BritishFolk Rock - BritishInvasion - BritishMetal - BritishPsychedelia - BritishPunk - BritishRap - BritishTradRock - Britpop - BrokenBeat - Bubblegum - C -86 - Cabaret -Cajun - Calypso - Canada - CanterburyScene - Caribbean - CaribbeanFolk - CastRecordings -CCM -CCM - Celebrity - Celtic - Celtic - CelticFolk - CelticFusion - CelticPop - CelticRock - ChamberJazz - ChamberMusic - ChamberPop - Chile - Choral - ChicagoBlues - ChicagoSoul - Child - Children'sFolk - Christmas -
MUSIC 351: Psychedelic Rock of the 1960S Spring 2015, T 7:00–9:40 P.M., ENS-280
MUSIC 351: Psychedelic Rock of the 1960s Spring 2015, T 7:00–9:40 p.m., ENS-280 Instructor: Eric Smigel ([email protected]) M-235, office hours: Mondays & Tuesdays, 3:00–4:00 p.m. This is a lecture class that surveys psychedelic rock music and culture of the 1960s. Psychedelic music played an important role in the development of rock music as a predominant art form during one of the most formative decades in American history. Emerging along with the powerful counterculture of hippies in the mid-1960s, psychedelic rock reflects key elements of the “Love Generation,” including the peace movement, the sexual revolution, the pervasive use of recreational drugs (especially marijuana and LSD), and the growing awareness of Eastern philosophy. The main centers of countercultural activity—the Haight-Ashbury district of San Francisco and the London Underground—drew a high volume of media exposure, resulting in the famous “Summer of Love” and culminating in popular music festivals in Monterey, Woodstock, and Altamont. Students in this course will examine the music and lyrics of a selection of representative songs by The Grateful Dead, The Jefferson Airplane, Big Brother and the Holding Company, The Beatles, Pink Floyd, The Jimi Hendrix Experience, and other bands closely associated with the burgeoning psychedelic scene. Students will also consult primary source material—including interviews with several of the musicians, influential literature of the period, and essays by key figures of the movement—in order to gain insight into the social, political, -
Classic 5 Hand Reel
Shaking Out the Sheets: Dirty Linen Classics by Steve Winick tric folk. The band combined Irish and song, by the U.S.-based group the In this strange new world, Five Hand Scottish elements with punchy rhythms New St. George. Reel was arguably the top folk-rock that Fairport Convention and Steeleye The 1977 followup, For A’ That, was band recording in Britain, and, in Span had been working with in recorded less than a year later in the RCA, it certainly had the biggest label England. In that sense, it was an inter- same studio, with the same producer of any such group. RCA provided a national Anglo-Celtic electric folk band. and engineer and with the same lineup heftier budget for recording and Five Hand Reel’s eponymous first of musicians. Not surprisingly, it promotion of its third album, in the album won the coveted Folk Album of sounds like an extension of the original hopes of making the band into the new the Year designation from Melody album and could have been recorded at Steeleye Span.Fairport’s Simon Nicol Maker, the runner-up being June the same sessions. Themes and genres was enlisted as producer, and the band Tabor’s debut disc. It marries solid are revisited; Irish emigration is treated went into the studio and produced Earl O’Moray, an album quite different in musicianship, impassioned vocals, and in “Carrickfergus,” the Irish love lyric sound and tone from the first two. The imaginative arrangements. It opens in “P Stands for Paddy.” Two more album is heavy on anthems, from Five Hand Reel with a medley of Scottish songs sung sets of jigs and reels get the blood Burns’ effusive “My Love is Like by Gaughan, interspersed with Irish flowing. -
Broken Toys 31 Is Brought to You by Taral Wayne and His Various Invisible Best Friends, Who Reside Happily Together in a Reality Not Accessible to Most
Broken Toys 31 is brought to you by Taral Wayne and his various invisible best friends, who reside happily together in a reality not accessible to most. They can be reached at 245 Dunn Ave., Apt. 2111, Toronto Ontario, M6K 136 Canada ... or at [email protected]. This fanzine is Kiddelidivee Books & Art (or ExtraTaraltoriality) (or Taralble Mistakes) 288, pubbed late September 2014. Now we are 63, and no nearer my life goals than I was at 23. Did it Ever Really Happen? Last month I attended a furry meet that had been happening in Toronto every three or four months, for years. Although I had been repeatedly urged to go, the one in August was the first that I bestirred myself to actually attend. There was no sinister reason for this hesitancy. I just expected a much younger crowd than myself, with whom I would have little in common. As well, my mobility was decreasing steadily, and the location of the Islington Fur Meet involved a short walk, a bus ride, a subway ride, and a longish walk at the end that I wasn’t keen about … especially on the way home, at night, when I would be a fairly isolated target dependent on a roller. Not that it is an unsafe neighborhood. I had lived there myself, in the 1960s, and knew every inch of it intimately. But after ten p.m., I thought it might be less than wise for a vulnerable person to be out alone. For those reasons, I kept giving “We’ll see” as an answer to every invitation, but wimping out at the last minute. -
Table of Contents
1 •••I I Table of Contents Freebies! 3 Rock 55 New Spring Titles 3 R&B it Rap * Dance 59 Women's Spirituality * New Age 12 Gospel 60 Recovery 24 Blues 61 Women's Music *• Feminist Music 25 Jazz 62 Comedy 37 Classical 63 Ladyslipper Top 40 37 Spoken 65 African 38 Babyslipper Catalog 66 Arabic * Middle Eastern 39 "Mehn's Music' 70 Asian 39 Videos 72 Celtic * British Isles 40 Kids'Videos 76 European 43 Songbooks, Posters 77 Latin American _ 43 Jewelry, Books 78 Native American 44 Cards, T-Shirts 80 Jewish 46 Ordering Information 84 Reggae 47 Donor Discount Club 84 Country 48 Order Blank 85 Folk * Traditional 49 Artist Index 86 Art exhibit at Horace Williams House spurs bride to change reception plans By Jennifer Brett FROM OUR "CONTROVERSIAL- SUffWriter COVER ARTIST, When Julie Wyne became engaged, she and her fiance planned to hold (heir SUDIE RAKUSIN wedding reception at the historic Horace Williams House on Rosemary Street. The Sabbats Series Notecards sOk But a controversial art exhibit dis A spectacular set of 8 color notecards^^ played in the house prompted Wyne to reproductions of original oil paintings by Sudie change her plans and move the Feb. IS Rakusin. Each personifies one Sabbat and holds the reception to the Siena Hotel. symbols, phase of the moon, the feeling of the season, The exhibit, by Hillsborough artist what is growing and being harvested...against a Sudie Rakusin, includes paintings of background color of the corresponding chakra. The 8 scantily clad and bare-breasted women. Sabbats are Winter Solstice, Candelmas, Spring "I have no problem with the gallery Equinox, Beltane/May Eve, Summer Solstice, showing the paintings," Wyne told The Lammas, Autumn Equinox, and Hallomas.