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P L A Y L I S T week 40_201004 sunday 12:00 – 14:00 pm central european time CD of the WEEK: VITORIA BAILEY***JESUS, RED WINE & PATSY CLINE***ROCK RIDGE MUSIC ~TODAYS SPECIAL: A TRIBUTE TO THE MUSIC OF GRAM PARSONS~ st 1 hour artist song label WYNONNA WATER OF LOVE DINO MO PITNEY LOCAL HONEY CURB BRENT COBB GOOD TIMES AND GOOD LOVE O’BUDDY/BERTUS THE MYSTIX ft. CHARLIE McCOY BOTTLE OF WHISKEY INDEPENDENT/HEMIFRAN cd of the week VICTORIA BAILEY THE BEGINNING ROCK RIDGE MUSIC VICTORIA BAILEY HONKY TONK WOMAN ROCK RIDGE MUSIC GARY P. NUNN MEXICAN BOULEVARD GUACAMOLE/CAMPFIRE JORIS LINSSEN & CARAMBA MET JOU HEB IK GELEERD SILVOX the music of gram parsons tribute triple play THE MAVERICKS HOT BURRITO #1 ALMO BECK & EMMYLOU HARRIS SIN CITY ALMO CHRIS HILLMAN & STEVE EARLE HIGH FASHION QUEEN ALMO JAIME WYATT GOODBYE QUEEN NEW WEST/PIAS ROGER CREAGER GOOD OLD DAYS DUALTONE THE JASON DANIELS BAND MUSIC IS A PRAYER JAX ZEN/KG MUSIC nd 2 hour artist song Label GARY P. NUNN LONDON HOMESICK BLUES GUACAMOLE/CAMPFIRE CHARLEY CROCKETT RUN HORSE RUN SON OF DAVY/BERTUS ALECIA NUGENT I MIGHT HAVE ONE TOO HILLBILLY GODDESS/MOORE BILL KIRCHEN VALLEY OF THE MOON LAST MUSIC CO/AT THE HELM cd of the week VICTORIA BAILEY TENNESSEE ROCK RIDGE MUSIC VICTORIA BAILEY HOMEGROWN ROOTS ROCK RIDGE MUSIC JIM STANARD ONE TIME IN A ROW INDEPENDENT/HEMIFRAN OUR MAN IN THE FIELD STICK AROUND ROCKSNOB/ROOTSY/SONIC the music of gram parsons tribute triple play LUCINDA WILLIAMS & DAVID CROSBY RETURN OF THE GRIEVOUS ANGEL ALMO WHISKEYTOWN A SONG FOR YOU ALMO THE ROLLING CREECKDIPPERS IN MY HOUR OF DARKNESS ALMO BONNIE WHITMORE LOVE WORTH REMEMBERING INDEPENDENT/BACKSTROM DELTA SPIRIT LOVER’S HEART NEW WEST/PIAS CountryFile is 6 time Winner of the DCMA Radio Award for Best Country Show on Dutch Local Radio Radiostation address: Koningin Julianalaan 1 - 9934 EB Delfzijl - The Netherlands CountryFile address: C. Houtmanstraat 41 - 9934 HE Delfzijl - The Netherlands [email protected] .

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Sam Quinn's Posthumous Visit with Gram Parsons by Carole Perkins 2008
Sam Quinn's Posthumous Visit With Gram Parsons by Carole Perkins 2008 Sam Quinn and his band, the everybodyfields, recently stayed at The Joshua Tree Inn where legendary singer/songwriter Gram Parsons died from a drug and alcohol overdose in 1973 at the age of 26. Quinn, Jill Andrews, Josh Oliver, and Tom Pryor, comprise the everybodyfields whose music has been described as, "a fresh set of fingerprints in the archives of bluegrass, country, and folk music." The band was touring the west coast when Quinn discovered the band was booked to stay at The Joshua Tree Inn. The Joshua Tree Inn is a simple but mythical motel in California, about 140 miles east of Los Angeles. It was popular in the fifties for Hollywood rabble rousers and trendy in the seventies for rockers and celebrities. These days, the main attraction is the room Parsons passed away in, room Number Eight, where thousands of fans pilgrimage every year to pay homage to Parsons. Quinn says he's been a fan of Parsons since he was eighteen but never dreamed he'd be sharing a wall with Parson's old motel room one day. "It was really far out to find out we would be staying in the Joshua Tree Inn. I had just woken up in our van that was parked about a mile away. I knew we'd be in the vicinity of where Gram died but sharing a wall with Gram, no, not a chance," he says. "So we walk into the lobby and the lady at the front desk gives me a key to room Number Seven, the room right next to the one Gram died in.
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GRAM PARSONS LYRICS Compiled by Robin Dunn & Chrissie Van Varik
GRAM PARSONS LYRICS Compiled by Robin Dunn & Chrissie van Varik. As performed in principal recordings (or demos) by or with Gram Parsons or, in the case of Gram Parsons compositions, performed by others. Gram often varied, adapted or altered the lyrics to non-Parsons compositions; those listed here are as sung by him. Gram’s birth name was Ingram Cecil Connor III. However, ‘Gram Parsons’ is used throughout this document. Following his father’s suicide, Gram’s mother Avis subsequently married Robert Parsons, whose surname Gram adopted. Born Ingram Cecil Connor III, 5th November 1946 - 19th September 1973 and credited as being the founder of modern ‘country-rock’, Gram Parsons was hugely influenced by The Everly Brothers and included a number of their songs in his live and recorded repertoire – most famously ‘Love Hurts’, a truly wonderful rendition with a young Emmylou Harris. He also recorded ‘Brand New Heartache’ and ‘Sleepless Nights’ – also the title of a posthumous album – and very early, in 1967, ‘When Will I Be Loved’. Many would attest that ‘country-rock’ kicked off with The Everly Brothers, and in the late sixties the album Roots was a key and acknowledged influence, but that is not to deny Parsons huge role in developing it. Gram Parsons is best known for his work within the country genre but he also mixed blues, folk, and rock to create what he called “Cosmic American Music”. While he was alive, Gram Parsons was a cult figure that never sold many records but influenced countless fellow musicians, from the Rolling Stones to The Byrds.
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Biography -- Printable Version
Biography -- Printable Version Peter Wolf's Historical Biography Written & Researched by Bryan Wiser, and Sheila Warren with Mimi Fox. Born in New York City, Peter grew up in the Bronx during the mid-1950's in a small, three-room apartment where he lived with his parents, older sister, two cats, dog and parakeet. For some time, Peter lived with his grandmother, an actress in New York City's Yiddish Theater. She and Peter had a strong bond, and she affectionately named him "Little Wolf" for his energetic and rambunctious ways. His father was a musician, vaudevillian and singer of light opera. Like Peter did years later, his father left home at age fourteen to join the Schubert Theater Touring Company with which he traveled the country performing light operas such as The Student Prince and Merry Widow. He had his own radio show called The Boy Baritone, which featured new songs from Tin Pan Alley, and was a member of the Robert Shaw Chorale. As a result of such artistic pursuits, Peter's father underwent long periods of unemployment that created a struggle to make financial ends meet. Peter's mother was an elegant and attractive woman who taught inner-city children in the South Bronx for 27 years. A political activist, union organizer and staunch civil rights advocate, she supported racial equality by attending many of the southern "freedom rides" and marches. Peter's older sister was also a teacher as well as a photographer who now works as an advocate for persons with disabilities. She continues her mother's tradition, often marching on Washington to support the rights of the disabled.
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Austin's Progressive Country Music Scene and the Negotiation
Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978 Travis David Stimeling A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements of the Doctor of Philosophy in the Department of Music. Chapel Hill 2007 Approved by: Jocelyn R. Neal, Chair Jon W. Finson David García Mark Katz Philip Vandermeer © 2007 Travis David Stimeling ALL RIGHTS RESERVED ii ABSTRACT TRAVIS DAVID STIMELING: “Space, Place, and Protest: Austin’s Progressive Country Music Scene and the Negotiation of Texan Identities, 1968-1978” (Under the direction of Jocelyn R. Neal) The progressive country music movement developed in Austin, Texas, during the early 1970s as a community of liberal young musicians and concertgoers with strong interests in Texan country music traditions and contemporary rock music converged on the city. Children of the Cold War and the post-World War II migration to the suburbs, these “cosmic cowboys” sought to get back in touch with their rural roots and to leave behind the socially conservative world their parents had created for them. As a hybrid of country music and rock, progressive country music both encapsulated the contradictions of the cosmic cowboys in song and helped to create a musical sanctuary in which these youths could articulate their difference from mainstream Texan culture. Examining the work of the movement’s singer-songwriters (Michael Murphey, Guy Clark, Gary P. Nunn), western swing revivalists (Asleep at the Wheel, Alvin Crow and the Pleasant Valley Boys), and commercial country singers (Willie Nelson, Waylon Jennings), this dissertation explores the proliferation of stock imagery, landscape painting, and Texan stereotypes in progressive country music and their role in the construction of Austin’s difference.
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Copyrighted Material
bindex.qxd 3/29/06 12:21 PM Page 309 Index Albums are set in italic type. Song titles are set within quotation marks. Film titles set in italic type are qualiﬁed. Page numbers in italic type refer to illustrations. A&M Records, 46, 64, 65–66, 82, 85, Ashby, Hal, 153 111, 131, 156–157, 238, 240 Asher, Jane, 108 Acevedo, Susan, 80, 147 Asher, Peter, 110, 152, 183 Ackles, David, 71 on Geffen and Roberts, 128, 133–134 “Act Naturally,” 57 as record producer, 199–200, 223, 224, Adler, Lou, 4, 6, 91, 96, 131, 143, 218 233, 246 Mamas and Papas and, 31, 93, 110 Taylor and, 108–109, 124, 199 Monterey Pop Festival and, 18 Ash Grove, 2–3, 4, 57, 78 Ode label and, 110–111 Ashley, Ted, 51, 233, 234 Roxy club and, 179, 201 Asylum Records, 136, 138, 141, 191–199, After the Gold Rush, 121, 147, 206, 207 211, 222, 240, 242, 246, 251, 265 Ahern, Paul, 151, 195 Byrds and, 157, 158 “Albuquerque,” 206 drug use at, 238–239 “All I Want,” 125 Eagles and, 135–136, 138, 141, “Almost Cut My Hair,” 119 150–152, 195 Alpert, Herb, 65, 66, 84, 91 Elektra merger, 209–215 “Already Gone,” 212 Geffen and, 110, 131, 133, 135–142, Altamont Festival, 85, 96–97 151, 152, 191–193, 195, 197 Altman, Robert, 218–219 See also Elektra-Asylum “Amelia,” 264 Atlantic Records, 13, 52, 119, 120, 129, America, 193, 196, 214, 239 130, 192, 196, 209–210, 235 American Beauty, 65, 157 Autumn Records, 10 American Dream,COPYRIGHTED263 Axton, MATERIAL Hoyt, 218 Amos Records, 72, 74, 136 Azoff, Irving, 184, 203, 222, 254.
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A Tribute to Gram Parsons Pursue a Degree in Photography
A monthly guide to your community library, its programs and services Issue No. 224, November 2007 November holidays The library will be open 11 a.m. to 5 p.m. Friends welcomes author Lucette Lagnado Wednesday, November 21, and closed November 22. Happy Thanksgiving! The Friends of the Library Cairo’s grand boulevards to a welcomes Lucette Lagnado, author cramped one bedroom in Brook- of The Man in the White Sharkskin lyn, The Man in the White Shark- Music of the 60s & 70s Suit: My Family’s Exodus from Old skin Suit is a moving riches-to- Join us on Friday, November 9 at 7:30 Cairo to the New World (Ecco rags story of loss, identity, faith, p.m., when Shindig! is our guest at Way 2007), on Thursday, November 29 tradition and triumph that has Off Broadway. Relive the music of the at 7:30 p.m. been hailed as a “crushing, bril- 1960s and 70s with one of Long Island’s In December 1963, Ms. Lag- liant book.” premiere bands. Dancing in the aisles nado and her family arrived on a Ms. Lagnado is the coauthor encouraged! frozen pier in New York City, in of Children of the Flames: Dr. debt, destitute and without any Mengele and the Untold Story of family to greet them. In her poi- the Twins of Auschwitz, which has Hearing Screening gnant and heartbreaking memoir, been translated into nearly a On Friday, November 30 from 10 a.m. award-winning Wall Street Journal dozen languages. She is senior to 3 p.m., the reporter Lagnado recounts how special writer and investigative Adelphi University Speech her once prosperous family lost reporter for the Journal.
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Antimodernism and Genre from Country-Rock to Alt.Country, 1968-98
Antimodernism and Genre from Country-Rock to Alt.Country, 1968-98 Jason Bianchi Kirby San Jose, California B.A. Sociology and Literature, University of California—Santa Cruz, 2002 M.A. American Culture Studies, Bowling Green State University, 2006 A dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Music University of Virginia August 2016 Abstract This dissertation is a cultural history exploring expressions of and responses to antimodernism within country-rock and “alternative country” music, drawing on reception history, intellectual history of underground and mainstream left-wing American political movements, interview discourse with artists, and close readings of songs. In this dissertation I argue that despite styling itself as a type of purer root or “folk” form of contemporary country music, in terms of its ideologies, studio production techniques, fan and critical discourse, and business practices, alt.country is a type of rock music. It embodies some of rock’s core beliefs, particularly rock’s critique of the more bureaucratic and “rationalized” dimensions of postindustrial capitalism, particularly as this relates to the everyday impact of new technologies. I argue that this anti-modernism, emerging here from the American political left, has been different in different eras, from the back-to-the-land movement of the late 1960s, to late- ‘80s/early-‘90s expressions of left populist punk’s longing for “folk” community. In this project I look beyond contemporary scholarly understandings of alt.country as mostly ironic, as ultimately I suggest that this music illustrates what Keir Keightley calls rock’s aesthetic of “seriousness,” more precisely than it does an understanding of country music ideology.
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MUSIC; a Grievous Angel, a Busy Ghost
Published: December 8, 2002 MUSIC; A Grievous Angel, A Busy Ghost By NEIL STRAUSS WAYCROSS, Ga.— THERE is a ghost that hangs heavy over the town of Waycross, a railroad hub in southeastern Georgia that has fallen on hard times. Though most folks move through the streets oblivious to it, some people say they can actually see it. And they see it everywhere. ''Before me, gentlemen, Gram once walked down these streets, as sure as I did,'' said Billy Ray Herrin, a local songwriter who held a tribute to Parsons here last week. He was sitting in the passenger seat of a crowded rental car. ''Take a right here,'' he said. ''I'm going to show you the exact monkey bars that he used to swing on.'' Gram is Gram Parsons, the patron saint of country-rock and, beyond it, the catch-all modern folk genre known as Americana. Raised in Waycross, which he left at the age of 12 after his father committed suicide, Parsons lived fast, died young and left a good-looking corpse, a good- sounding body of work and a good-size cult audience that is about to see his memory taken to new heights. For someone who sabotaged himself so much -- who often put the musicians he worked with second to his musical vision, who could be difficult to work with in the studio and who got so drunk and high that he exasperated those around him -- Parsons still managed to be the force behind five of the greatest albums of the late 60's and early 70's.
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Unintended Consequences: Robert Earl Keen and the Origins Of
UNINTENDED CONSEQUENCES: ROBERT EARL KEEN AND THE ORIGINS OF THE TEXAS COUNTRY MUSIC SCENE by Richard Kelly, B.A. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Arts with a Major in History August 2017 Committee Members: Gary Hartman, Chair Jason Mellard Dan K. Utley COPYRIGHT by Richard Kelly 2017 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Richard Kelly, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. DEDICATION This work is dedicated to anyone who has, or anyone who will in the future, put me on the guest list. ACKNOWLEDGEMENTS In 1992, during my second year of college, I would occasionally tag along with Mike Kilian, a high school friend, to his Alpha Tau Omega parties just west of the campus of the University of Texas at Austin. Not knowing many people, I usually ended up watching the band. This is how I first heard and met Jack Ingram, a fledgling performer and SMU ATO. At the time, none of us could know Ingram was a harbinger of a generation of Texas musicians who, inspired by Robert Earl Keen, would lead a resurgence of interest in original, Texas country music, an echo of the progressive country of the music of Ingram’s, Kilian’s, and my childhood.
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Gram Parsons – Altamont Pie
Gram Parsons – Altamont Pie Cet article est la traduction du seizième chapitre du livre de David MacGowan, Weird Scenes Inside The Canyon. L'histoire étrange, mais néanmoins véridique, du Laurel Canyon et de la naissance de la génération hippie. Gram Parsons « Personne ne pouvait se rappeler avoir jamais vu ou entendu dire que Gram ait été impliqué dans quelque manifestation que ce soit » L'écrivain Ben Fong-Torres, qui a interviewé des dizaines de personnes proches de Gram Parsons à l'occasion de ses recherches pour son livre Hickory Wind Commençons par une évidence: Gram Parsons était loin d'être la plus grande star qui ait émergé de la scène du Laurel Canyon. Au cours de sa courte vie, il n'est pas parvenu à atteindre un niveau de succès très élevé sur le plan commercial. Aucun de ses albums, que ce soit en solo ou avec The International Submarine Band, The Byrds, ou The Flying Burritos Brothers, ne s'est élevé bien haut dans les classements de ventes de disques. Mais de nombreux fans, ainsi que de nombreux musiciens, le considèrent comme une personnalité à l'influence énorme, et qui a été injustement ignorée. On peut dire sans grand risque de se tromper que Gram Parsons est très loin d'avoir autant de fans que David Crosby ou Frank Zappa, et quand on le compare à ses contemporains décédés durant la même période et à peu près au même âge – des artistes légendaires comme Jim Morrison, Janis Joplin et Jimi Hendrix – Parsons est un parfait inconnu. Néanmoins, l’histoire de sa vie est fascinante, principalement parce qu’elle contient tous les éléments propres au Laurel Canyon: l’ascendance royale, les liaisons plus ou moins ouvertes avec la communauté du renseignement, la touche d’occultisme, une famille à la fortune extravagante, une ou deux maisons incendiées, et, bien entendu, toute une série de morts étranges.
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Acoustic Sounds Winter Catalog Update
VOL. 8.8 VOL. 2014 WINTER ACOUSTICSOUNDS.COM ACOUSTIC SOUNDS, INC. VOLUME 8.8 The world’s largest selection of audiophile recordings Published 11/14 THE BEATLES IN MONO BOX SET AAPL 379916 • $336.98 The Beatles get back to mono in a limited edition 14 LP box set! 180-gram LPs pressed in Germany by Optimal Media. Newly remastered for vinyl from the analogue tapes by Sean Magee and Steve Berkowitz. The release includes all nine original mono mixed U.K. albums plus the original American- Cut to lacquer on a VMS80 lathe compiled mono Magical Mystery Tour and the Mono Masters, a three LP collection of Exclusive 12” 108-page hardbound book non-album tracks also compiled and mastered from the original analogue tapes. with rare studio photos! All individual albums available. See acousticsounds.com for details. FOUR MORE FROM THE FAB FOUR New LP Reissues - Including QRP Pressings! The below four Beatles LPs will be pressed in two separate runs. First up are 10,000 European-pressed copies. After those are sold through, the label will then release the Quality Record Pressings-pressed copies. All four albums are 180-gram double LPs! The Beatles 1967-1970 The Beatles 1962-1966 1 Love ACAP 48448 $35.98 ACAP 48455 $35.98 ACAP 60079 $35.98 ACAP 48509 $48.98 (QPR-pressed version; (QPR-pressed version; (QPR-pressed version; (QPR-pressed version; coming sometime in 2015) coming sometime in 2015) coming sometime in 2015) coming sometime in 2015) ACAP 484480 $35.98 ACAP 484550 $35.98 ACAP 600790 $35.98 ACAP ACAP 485090 $48.98 (European-pressed version; (European-pressed
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Course Outline: WEEK ONE: Country Becomes Cool: How the Seminal Country-Rock of Los Angeles Spread Like Wildfire Across the Country
Title of Class: 55 years of country-rock, 1965-present: Creating a new American musical genre--how two immensely popular genres of music merged to create a timeless style, uniquely American in every aspect. This class will cover the historically significant country-rock movement which started in LA in 1965 and spread across the country, changing the musical landscape of popular music. We will explore how two roots-oriented genres-- country music and rock and roll--borrowed from each other and merged to create a new genre which has since spawned many sub-genres, each with its own unique approach to country-rock. We will look at several artists and their key albums, including: The Byrds, Buffalo Springfield, Crosby, Stills and Nash, Flying Burrito Brothers, Gram Parsons, Poco, the Eagles, Linda Ronstadt, Emmylou Harris, John Prine, Steve Earle and others, as well as trends in instruments, arrangements and lyric-writing that made up the songs. Course Outline: WEEK ONE: Country becomes cool: How the seminal country-rock of Los Angeles spread like wildfire across the country. The Byrds, Buffalo Springfield, the Crosby Stills and Nash. LA in the late 1960’s. Listening: Mr. Tambourine Man: The Byrds, 1965 Columbia Buffalo Springfield, Buffalo Springfield 1966 ATCO Buffalo Springfield, Buffalo Springfield Again 1967 ATCO Buffalo Springfield, Last Time Around 1968 ATCO The Notorious Byrd Brothers, 1968 Columbia Crosby Stills and Nash, Crosby Stills and Nash (debut) 1969, Atlantic Reading: Desperados: The Roots of Country RocK, by John Einarson 2001 For What It's Worth: The Story of Buffalo Springfield, by John Einarson 2004 Viewing: WoodstocK, dir.
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