Ultimate Guide to the Rolling Stones (1985 / 1996 / 2003 / 2020)
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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
• Issue 45.Indd
THE BOOGIE MAN Boogie pianist Ben Waters has a new record out, entitled ‘Boogie 4 Stu’, paying tribute to Ian Stewart, a founding member of The Rolling Stones, who went on to become their road manager. As a long term fan of Stewart and his playing, Ben talked to his friend Charlie Watts about paying tribute with an album. Watts immediately wanted to be a part of it, which led to fellow Stones Mick Jagger, Ronnie Wood and Keith Richards hurling themsleves into the fray. Ex-Stones man Bill Wyman threw his name into the hat, along with fellow gifted ivory tinkler Jools Holland. With a star studded guest list, a portrait of Ian Stewart being commissioned by Sir Peter Blake for the cover and proceeds from the album going toward raising funds for the British Heart Foundation, James Gaden thought it was time Ben got to tell people all about it. Ben, you’re an experienced pianist in your own right and have worked with a host of big names - for readers unfamiliar with your work, can you provide a brief overview of your work to date? I started playing piano when I was about 14ish. My first exposure to this kind of music was Ian Stewart playing at my aunt and uncle’s 25th wedding anniversary. Shortly after this, Fats Domino’s 60th Birthday was on TV with Ray Charles and Jerry ‘Boogie For Stu’, as I mentioned just then, this was because of his love for Lionel Lee Lewis. I really fell in love with the music and wanted to start playing. -
BADGE Live! – Finest of Blues and Classic-Rock
BADGE Live! – Finest of Blues and Classic-Rock Zur Band um Die Band "BADGE Live!" bringt beste Blues-Rock- den Sänger Partystimmung "in the house!" gehört der Gitarrist Die 5-köpfige Blues-Rock-Band „BADGE Live!“ Jörg „Reverend“ präsentiert eine Mischung aus energiegeladenem Blues Metzinger - mit rockigen und groovigen Akzenten sowie Anleihen Bestechend aus Soul und Funk. Songs von: John Mayall, Joe durch einen Bonamassa, Canned Heat, The Doors, Eric Clapton, bluesig- Stevie Ray Vaughan, Jimmy Hendrix, The Blues swingenden Brothers u.v.a, werden auf eigene Art und Weise Gitarrenstil - präsentiert und bringen das Publikum zum Abrocken! auch an der Akustik-Gitarre Fernab vom Einheitsbrei der Top40-Bands spielen die 5 und sein Gefühl Musiker Songs, die jeder kennt, aber selten live gespielt für dynamische werden und auch den ein oder anderen Geheimtipp, Sounds. alles mit eigener Note und unverwechselbaren Sound. Ob als Konzert-Act beim Festival, Party-Act auf Festen oder Show-Act bei einer Firmengala - „BADGE Live!“ Jörg „Reverend“ Metzinger bietet musikalische Leckerbissen, die den Abend (Guitar & Vocal) unvergessen werden lassen. Der zweite „BADGE Live!“ eine der bekanntesten Bands im Gitarrist der Saarland - erreicht und begeistert voll im Trend liegend, Band, Fritz ihre ständig wachsende Fangemeinde und spielt sich Schröder aus von zart bis hart in die Herzen der Zuhörer. Darmstadt be- reichert den Let the good times roll! Bandsound mit seinem Die Band: urwüchsigen blues-rockigen Stil. Das ist auch seiner Live- Erfahrung mit den Großen der Szene zu verdanken, wie z. B.: Fritz Schröder (Guitar) Big „Blind Dog“ Mayer (Harmonica & Vocal) Support u. a. für: - Paul Lamb and the Sänger und Harmonica-Spieler Big „Blind Dog“ Mayer King Snakes spielte in vielen verschiedenen Blues-Bands und mit - Ford Blues Band, feat. -
Chris Jagger クリス・ジャガー Mp3, Flac, Wma
Chris Jagger クリス・ジャガー mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: クリス・ジャガー Country: Japan Released: 1973 Style: Rhythm & Blues, Classic Rock MP3 version RAR size: 1343 mb FLAC version RAR size: 1406 mb WMA version RAR size: 1474 mb Rating: 4.4 Votes: 522 Other Formats: MIDI AA AIFF MP4 MPC MMF APE Tracklist Hide Credits Handful Of Dust A1 Acoustic Guitar – David Pierce Backing Vocals [Helpout Vox] – M. Jagger*Bass, Lead Guitar 3:36 – John UribeDrums – Roger EarlSaxophone – Bobby KeysWritten-By – C. Jagger*, D. Pierce* My Friend John Arranged By – J. Uribe*Backing Vocals [Helpout Vox] – Chris Jagger, Oliver TobiasBass, A2 2:51 Acoustic Guitar, Percussion, Backing Vocals [Helpout Vox] – John UribeDrums – Roger EarlOrgan – Michael O'MardinPercussion – Don PoncherWritten-By – C. Jagger* Let Me Down Easy Arranged By – J. Uribe*Bass – Pat VegasDrums – Don PoncherPiano – Michael A3 5:01 O'MardinSlide Guitar, Rhythm Guitar – John UribeVoice [Voices] – Claudia Linnear*, Elaine , Pat Arnold*Written-By – C. Jagger* Going Nowhere A4 Bass, Percussion, Guitar – John UribeCello – Bob DentDrums – Roger EarlPercussion – 3:06 Diane Piano, Guitar – David Pierce Written-By – C. Jagger*, D. Pierce* Something New A5 Bass – Bob GriffithDrums – Roger EarlPiano – Chris Jagger, Ian StewartRhythm Guitar, 3:56 Lead Guitar – John UribeWritten-By – C. Jagger* Riddle Song Arranged By – D. Pierce*Bass, Effects [Electric Lead & Effects], Percussion – John B1 2:38 UribeDrums – Mike KelliePiano, Rhythm Guitar, Effects [Electric Lead & Effects] – David Pierce Written-By – C. Jagger* All Souls Acoustic Guitar, Electric Guitar – David Pierce Bass, Lead Guitar – John UribeDrums – B2 2:38 Roger EarlHorns – Elijah HornsPiano – Michael O'MardinWritten-By – C. -
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. -
Jon Lord June 9 1941 – July 16 2012
Jon Lord June 9 1941 – July 16 2012 Founder member of Deep Purple, Jon Lord was born in Leicester. He began playing piano aged 6, studying classical music until leaving school at 17 to become a Solicitor’s clerk. Initially leaning towards the theatre, Jon moved to London in 1960 and trained at the Central School of Speech and Drama, winning a scholarship, and paying for food and lodgings by performing in pubs. In 1963 he broke away from the school with a group of teachers and other students to form the pioneering London Drama Centre. A year later, Jon “found himself“ in an R and B band called The Artwoods (fronted by Ronnie Wood’s brother, Art) where he remained until the summer of 1967. During this period, Jon became a much sought after session musician recording with the likes of Elton John, John Mayall, David Bowie, Jeff Beck and The Kinks (eg 'You Really Got Me'). In December 1967, Jon met guitarist Richie Blackmore and by early 1968 the pair had formed Deep Purple. The band would pioneer hard rock and go on to sell more than 100 million albums, play live to more than 10 million people, and were recognized in 1972 by The Guinness Book of World Records as “the loudest group in the world”. Deep Purple’s debut LP “Shades of Deep Purple” (1968) generated the American Top 5 smash hit “Hush”. In 1969, singer Ian Gillan and bassist Roger Glover joined and the band’s sound became heaver and more aggressive on “Deep Purple in Rock” (1970), where Jon developed a groundbreaking new way of amplifying the sound of the Hammond organ to match the distinctive sound of the electric guitar. -
Giving America Back the Blues
GIVING AMERICA BACK THE BLUES OVERVIEW ESSENTIAL QUESTION How did the early Rolling Stones help popularize the Blues? OVERVIEW The Rolling Stones ultimately made their mark as the nonconformist outlaws of Rock and Roll. But before they were bad boys, the Stones were missionaries of the Blues. The young Rolling Stones — Mick Jagger, Keith Richards, Brian Jones, Charlie Watts, and Bill Wyman — were white kids who hailed from working- and middle-class Britain and set out to play American music, primarily that of African Americans with roots in the South. In so doing, they helped bring this music to a new, largely white audience, both in Britain and the United States. The young men who formed the Rolling Stones emerged from the club scene fostered by British Blues pioneers Cyril Davies and Alexis Korner. These two men and their band, Blues Incorporated, helped popularize the American Blues, whose raw intensity resonated with a generation of Britons who had grown up in the shadow of war, death, the Blitz, postwar rationing, and the hardening of the Cold War standoff. Much of the Stones’ early work consisted of faithful covers of American Blues artists that Davies, Korner, and the Stones venerated: Muddy Waters, Howlin’ Wolf, Slim Harpo, Jimmy Reed. The early Stones in particular helped make the Blues wildly popular among young Britons. As the Stones’ fame grew and they became part of the mid-1960s British “invasion” of America, they also reintroduced the Blues to American listeners, most notably young, white audiences with limited exposure to the music. But almost from day one, the Stones were more than a Blues cover band. -
Het Verhaal Van De 340 Songs Inhoud
Philippe Margotin en Jean-Michel Guesdon Rollingthe Stones compleet HET VERHAAL VAN DE 340 SONGS INHOUD 6 _ Voorwoord 8 _ De geboorte van een band 13 _ Ian Stewart, de zesde Stone 14 _ Come On / I Want To Be Loved 18 _ Andrew Loog Oldham, uitvinder van The Rolling Stones 20 _ I Wanna Be Your Man / Stoned EP DATUM UITGEBRACHT ALBUM Verenigd Koninkrijk : Down The Road Apiece ALBUM DATUM UITGEBRACHT 10 januari 1964 EP Everybody Needs Somebody To Love Under The Boardwalk DATUM UITGEBRACHT Verenigd Koninkrijk : (er zijn ook andere data, zoals DATUM UITGEBRACHT Verenigd Koninkrijk : 17 april 1964 16, 17 of 18 januari genoemd Verenigd Koninkrijk : Down Home Girl I Can’t Be Satisfi ed 15 januari 1965 Label Decca als datum van uitbrengen) 14 augustus 1964 You Can’t Catch Me Pain In My Heart Label Decca REF : LK 4605 Label Decca Label Decca Time Is On My Side Off The Hook REF : LK 4661 12 weken op nummer 1 REF : DFE 8560 REF : DFE 8590 10 weken op nummer 1 What A Shame Susie Q Grown Up Wrong TH TH TH ROING (Get Your Kicks On) Route 66 FIVE I Just Want To Make Love To You Honest I Do ROING ROING I Need You Baby (Mona) Now I’ve Got A Witness (Like Uncle Phil And Uncle Gene) Little By Little H ROLLIN TONS NOW VRNIGD TATEN EBRUARI 965) I’m A King Bee Everybody Needs Somebody To Love / Down Home Girl / You Can’t Catch Me / Heart Of Stone / What A Shame / I Need You Baby (Mona) / Down The Road Carol Apiece / Off The Hook / Pain In My Heart / Oh Baby (We Got A Good Thing SONS Tell Me (You’re Coming Back) If You Need Me Goin’) / Little Red Rooster / Surprise, Surprise. -
In the Studio: the Role of Recording Techniques in Rock Music (2006)
21 In the Studio: The Role of Recording Techniques in Rock Music (2006) John Covach I want this record to be perfect. Meticulously perfect. Steely Dan-perfect. -Dave Grohl, commencing work on the Foo Fighters 2002 record One by One When we speak of popular music, we should speak not of songs but rather; of recordings, which are created in the studio by musicians, engineers and producers who aim not only to capture good performances, but more, to create aesthetic objects. (Zak 200 I, xvi-xvii) In this "interlude" Jon Covach, Professor of Music at the Eastman School of Music, provides a clear introduction to the basic elements of recorded sound: ambience, which includes reverb and echo; equalization; and stereo placement He also describes a particularly useful means of visualizing and analyzing recordings. The student might begin by becoming sensitive to the three dimensions of height (frequency range), width (stereo placement) and depth (ambience), and from there go on to con sider other special effects. One way to analyze the music, then, is to work backward from the final product, to listen carefully and imagine how it was created by the engineer and producer. To illustrate this process, Covach provides analyses .of two songs created by famous producers in different eras: Steely Dan's "Josie" and Phil Spector's "Da Doo Ron Ron:' Records, tapes, and CDs are central to the history of rock music, and since the mid 1990s, digital downloading and file sharing have also become significant factors in how music gets from the artists to listeners. Live performance is also important, and some groups-such as the Grateful Dead, the Allman Brothers Band, and more recently Phish and Widespread Panic-have been more oriented toward performances that change from night to night than with authoritative versions of tunes that are produced in a recording studio. -
Linn Lounge Presents... the Rolling Stones
Linn Lounge Presents... The Rolling Stones Welcome to Linn Lounge presents… ‘The Rolling Stones’ Tonight’s album, ‘Grr’ tells the fascinating ongoing story of the Greatest Rock'n'Roll Band In The World. It features re-masters of some of the ‘Stones’ iconic recordings. It also contains 2 brand new tracks which constitute the first time Mick Jagger, Keith Richards, Charlie Watts and Ronnie Wood have all been together in the recording studio since 2005. This album will be played in Studio Master - the highest quality download available anywhere, letting you hear the recording exactly as it left the studio. So sit back, relax and enjoy as you embark on a voyage through tonight’s musical journey. MUSIC – Muddy Waters, Rollin’ Stone via Spotify (Play 30secs then turn down) It all started with Muddy Waters. A chance meeting between 2 old friends at Dartford railway station marked the beginning of 50 years of rock and roll. In the early 1950s, Keith Richards and Mick Jagger were childhood friends and classmates at Wentworth Primary School in Kent until their families moved apart.[8] In 1960, the pair met again on their way to college at Dartford railway station. The Chuck Berry and Muddy Waters records that Jagger carried revealed a mutual interest. They began forming a band with Dick Taylor and Brian Jones from Blues Incorporated. This band also contained two other future members of the Rolling Stones: Ian Stewart and Charlie Watts.[11] So how did the name come about? Well according to Richards, Jones christened the band during a phone call to Jazz News. -
BLOW up De Michelangelo Antonioni
Simon LAURENT MAITRISE IECA HISTOIRE DU CINEMA BLOW UP de Michelangelo Antonioni Dossier téléchargé depuis le site www.lotus-mineral.com AVRIL 2004 1 SOMMAIRE Générique ..................................................................... 3 Biographie ................................................................... 5 Filmographie ............................................................... 6 Résumé.......................................................................... 11 Découpage séquentiel.................................................... 12 Découpage de la séquence 14 ....................................... 16 Analyse de la séquence 14 ........................................... 23 La représentation de l’Angleterre.................................. 29 Analyse personnelle ...................................................... 34 Relevé de citations ........................................................ 40 Cahier critique............................................................... 46 Bibliographie ................................................................ 49 2 Générique : Blow up Réalisateur : Michelangelo Antonioni Assitant réalisateur : Claude Watson Scénario : Michelangelo Antonioni & Tonino Guerra d’après la nouvelle « Las babas del diablo » de Julio Cortázar Dialogues anglais : Edward Bond Distribution Vanessa Redgrave : Jane Sarah Miles : Patricia David Hemmings : Thomas John Castle : Bill Jane Birkin : La femme blonde Gillian Hills : La femme brune Peter Bowles : Ron Veruschka von Lehndorff : Verushka Julian -
Drummer Charlie Watts Dies at 80
ARAB TIMES, THURSDAY, AUGUST 26, 2021 NEWS/FEATURES 13 People & Places Stage Carnegie adjusts program New faces, works as opera houses open SAN FRANCISCO, Aug 25, (AP): As opera houses around the US warily resume indoor performances, two of the biggest are ushering in new leadership — along with a heightened commitment to building new audiences. In San Francisco, Korean-born Eun Sun Kim be- comes the company’s fi rst female music director and fi rst Asian. Nearly 2,000 miles to the east, Enrique Mazzola is taking up the reins as only the third music director in the history of Chicago’s Lyric Opera. The nation’s largest company, New York’s Met- ropolitan Opera, will have a relative veteran on the podium when its season opens Sept. 27: Yannick Nezet-Seguin has been in charge since 2018-19. But the changes at these and other houses go beyond per- sonnel. As Marc Scorca, presi- dent and CEO of Opera Amer- ica, sees it, there’s a greater determination to bring in new, more diverse audiences and to champion new works. “COVID was a time of dis- covery in this regard,” Scorca, whose organization works with companies large and Kim small, said in an email. Forced to abandon indoor productions during the pandemic, many companies devised digital offerings as well as in-person pro- gramming in open-air venues like ball parks, drive-in movie theaters, tents and even a parking garage. “We’ve heard that between 25% and 40% of au- diences for these activities were new,” Scorca said.