DOCSLIB.ORG

THE ISLEY BROTHERS: FINE DINING FUNK - the Audiophile Man 24.11.17, 1418

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE ISLEY BROTHERS: FINE DINING FUNK - the Audiophile Man 24.11.17, 14�18 THE ISLEY BROTHERS: FINE DINING FUNK - The Audiophile Man 24.11.17, 14(18 HEADLINE HIP HOP/FUNK REVIEW VINYL COMPETITION THE ISLEY BROTHERS: FINE DINING FUNK Posted on 24th November 2017 MESSAGES FROM SPONSORS Title: The Heat is On Label: Speakers Corner I was surprised to see this reissue from the German audiophile outfit. Maybe I’ve been looking the other way for too long but I can’t remember when I last saw a reissue from this superlative R&B/funk outfit. A highly influential band, they spanned many years and a whole heap of evolution during that period. Why influential? Right from their early days, the band were lauded by the fans andHOME their∠ contemporaries. NEWS ∠ FEATURES You just have∠ to hearHIFI REVIEWSThe Beatles’∠ Twist MUSIC and REVIEWSShout and∠ Lulu’s DVD Shout & BOOK for REVIEWS ∠ # $ % " http://theaudiophileman.com/isley/ Seite 1 von 6 THE ISLEY BROTHERS: FINE DINING FUNK - The Audiophile Man 24.11.17, 14(18 evidence of that. Even the likes of Jimi Hendrix would make his first recordings with the Isleys. Never mind the band’s classics such as Summer Breeze, It’s Your Thing, That Lady, Harvest for the World and many more. This album was released in 1975 and was infused with a sound that blended both soul and rock with guitar fiend, Ernie Isley actually taking a lot from his time with Hendrix. This album included the hit, Fight the Power but there is far more to this LP than that hit such as the ballad, Make Me Say It Again Girl and the jam-like For The Love Of You. Ronald Isley owns this LP in vocal and funk terms while successfully spanning the fragility of the ballads and the force and power of the more rocking outings. http://theaudiophileman.com/isley/ Seite 2 von 6 THE ISLEY BROTHERS: FINE DINING FUNK - The Audiophile Man 24.11.17, 14(18 In terms of mastering? One word arises after the first few seconds: sumptuous. There is a delicious 70s warmth allied with bass power that provides a deep, heavy, almost bottomless pit of bass. Speakers Corner has brilliantly combined this with a sense of space and clarity that gives a searing emotional performance from the lead vocal and a guitar performance that is positively drenched in funk grooves. A mighty LP and a mighty remaster. Subscribe to my email updates Join my mailing list to receive the latest posts into your email inbox Email SUBSCRIBE! THE ISLEY BROTHERS 0 Comments # $ & + By PAUL RIGBY PAUL RIGBY I’ve been a journalist and editor for 30 years and still retain my good humour. Who’d have thought? I have worked within a range of industries, writing for hundreds of national magazines and newspapers in the UK, Europe and the USA covering: aviation, music, computer technology, computer gaming, hi-fi, mobile technology, home automation, lady’s lifestyle, plastic model making, antiques and more. I currently write for national magazines in the subjects of business, music, hi-fi and general technology. YOU MIGHT ALSO LIKE BLACK GRAPE: What Happens SAXON: Strike Gold with this live Folk Devils: Dirty Rock full of When You Don’t Like Mondays collection angst and anger. But without 15th December 2016 9th December 2016 the saliva. 22nd October 2016 NO COMMENTS LEAVE A REPLY http://theaudiophileman.com/isley/ Seite 3 von 6.
Load more

Recommended publications
  • IV. We Find No Violation of Ferdinand's Right to Effective
    THREE BOYS MUSIC CORP. v. BOLTON 477 Cite as 212 F.3d 477 (9th Cir. 2000) IV. of substantial similarity was not clearly erroneous; (3) defendants did not rebut We find no violation of Ferdinand’s right presumption of copying with evidence of to effective assistance of counsel or any violation of the Ex Post Facto Clause, and independent creation; (4) jury could find therefore Ferdinand’s § 2254 petition was that plaintiff deposited complete copy of properly denied. Accordingly, we affirm song with copyright office; (5) jury’s attri- the judgment of the district court. bution of profits was not clearly erroneous; (6) record company was not entitled to deduct its Net Operating Loss Carry-for- ward (NOL) in connection with award of , profits; and (7) defendants were not enti- tled to new trial. Affirmed. THREE BOYS MUSIC CORPORA- 1. Copyrights and Intellectual Property TION, Plaintiff–Appellee, O51 Copyright plaintiff must prove (1) v. ownership of the copyright; and (2) in- Michael BOLTON, individually and fringement, meaning that the defendant d/b/a Mr. Bolton’s Music, Inc.; An- copied protected elements of the plaintiff’s drew Goldmark; Non–Pareil Music, work. Inc.; Warner–Chappell Music Limit- 2. Copyrights and Intellectual Property ed; Warner–Tamerlane Publishing 83(3.1) Corp.; WB Music Corp.; and Sony O Music Entertainment, Inc., Defen- Absent direct evidence of copying, dants–Appellants. proof of copyright infringement involves fact-based showings that the defendant Nos. 97–55150, 97–55154 had access to the plaintiff’s work and that United States Court of Appeals, the two works are substantially similar.
    [Show full text]
  • Midnight Special Songlist
    west coast music Midnight Special Please find attached the Midnight Special song list for your review. SPECIAL DANCES for Weddings: Please note that we will need your special dance requests, (I.E. First Dance, Father/Daughter Dance, Mother/Son Dance etc) FOUR WEEKS in advance prior to your event so that we can confirm that the band will be able to perform the song(s) and that we are able to locate sheet music. In some cases where sheet music is not available or an arrangement for the full band is need- ed, this gives us the time needed to properly prepare the music and learn the material. Clients are not obligated to send in a list of general song requests. Many of our clients ask that the band just react to whatever their guests are responding to on the dance floor. Our clients that do provide us with song requests do so in varying degrees. Most clients give us a handful of songs they want played and avoided. Recently, we’ve noticed in increase in cli- ents customizing what the band plays and doesn’t play with very specific detail. If you de- sire the highest degree of control (allowing the band to only play within the margin of songs requested), we ask for a minimum of 100 requests. We want you to keep in mind that the band is quite good at reading the room and choosing songs that best connect with your guests. The more specific/selective you are, know that there is greater chance of losing certain song medleys, mashups, or newly released material the band has.
    [Show full text]
  • Songs by Title Karaoke Night with the Patman
    Songs By Title Karaoke Night with the Patman Title Versions Title Versions 10 Years 3 Libras Wasteland SC Perfect Circle SI 10,000 Maniacs 3 Of Hearts Because The Night SC Love Is Enough SC Candy Everybody Wants DK 30 Seconds To Mars More Than This SC Kill SC These Are The Days SC 311 Trouble Me SC All Mixed Up SC 100 Proof Aged In Soul Don't Tread On Me SC Somebody's Been Sleeping SC Down SC 10CC Love Song SC I'm Not In Love DK You Wouldn't Believe SC Things We Do For Love SC 38 Special 112 Back Where You Belong SI Come See Me SC Caught Up In You SC Dance With Me SC Hold On Loosely AH It's Over Now SC If I'd Been The One SC Only You SC Rockin' Onto The Night SC Peaches And Cream SC Second Chance SC U Already Know SC Teacher, Teacher SC 12 Gauge Wild Eyed Southern Boys SC Dunkie Butt SC 3LW 1910 Fruitgum Co. No More (Baby I'm A Do Right) SC 1, 2, 3 Redlight SC 3T Simon Says DK Anything SC 1975 Tease Me SC The Sound SI 4 Non Blondes 2 Live Crew What's Up DK Doo Wah Diddy SC 4 P.M. Me So Horny SC Lay Down Your Love SC We Want Some Pussy SC Sukiyaki DK 2 Pac 4 Runner California Love (Original Version) SC Ripples SC Changes SC That Was Him SC Thugz Mansion SC 42nd Street 20 Fingers 42nd Street Song SC Short Dick Man SC We're In The Money SC 3 Doors Down 5 Seconds Of Summer Away From The Sun SC Amnesia SI Be Like That SC She Looks So Perfect SI Behind Those Eyes SC 5 Stairsteps Duck & Run SC Ooh Child SC Here By Me CB 50 Cent Here Without You CB Disco Inferno SC Kryptonite SC If I Can't SC Let Me Go SC In Da Club HT Live For Today SC P.I.M.P.
    [Show full text]
  • BANG! the BERT BERNS STORY Narrated by Stevie Van Zandt PRESS NOTES
    Presents BANG! THE BERT BERNS STORY Narrated by Stevie Van Zandt PRESS NOTES A film by Brett Berns 2016 / USA / Color / Documentary / 95 minutes / English www.BANGTheBertBernsStory.com Copyright © 2016 [HCTN, LLC] All Rights Reserved SHORT SYNOPSIS Music meets the Mob in this biographical documentary, narrated by Stevie Van Zandt, about the life and career of Bert Berns, the most important songwriter and record producer from the sixties that you never heard of. His hits include Twist and Shout, Hang On Sloopy, Brown Eyed Girl, Here Comes The Night and Piece Of My Heart. He helped launch the careers of Van Morrison and Neil Diamond and produced some of the greatest soul music ever made. Filmmaker Brett Berns brings his late father's story to the screen through interviews with those who knew him best and rare performance footage. Included in the film are interviews with Ronald Isley, Ben E. King, Solomon Burke, Van Morrison, Keith Richards and Paul McCartney. LONG SYNOPSIS Music meets the Mob in this biographical documentary, narrated by Stevie Van Zandt, about the life and career of Bert Berns, the most important songwriter and record producer from the sixties that you never heard of. His hits include Twist and Shout, Hang On Sloopy, Brown Eyed Girl, Under The Boardwalk, Everybody Needs Somebody To Love, Cry Baby, Tell Him, Cry To Me, Here Comes The Night and Piece of My Heart. He launched the careers of Van Morrison and Neil Diamond, and was the only record man of his time to achieve the trifecta of songwriter, producer and label chief.
    [Show full text]
  • Top 100 Hits of 1968 Baby the Rain Must Fall— Glen Yarbrough 1
    Deveraux — Music 67 to 70 1965 Top 100 Hits of 1968 Baby the Rain Must Fall— Glen Yarbrough 1. Hey Jude, The Beatles Top 100 Hits of 1967 3. Honey, Bobby Goldsboro 1. To Sir With Love, Lulu 4. (Sittin' On) The Dock of the Bay, Otis Redding 2. The Letter, The Box Tops 6. Sunshine of Your Love, Cream 3. Ode to Billie Joe, Bobby Gentry 7. This Guy's In Love With You, Herb Alpert & The Tijuana Brass 5. I'm a Believer, The Monkees 8. The Good, The Bad and the Ugly, Hugo Montenegro 6. Light My Fire, The Doors 9. Mrs. Robinson, Simon and Garfunkel 9. Groovin', The Young Rascals 11. Harper Valley P.T.A., Jeannie C. Riley 10. Can't Take My Eyes Off You, Frankie Valli 12. Little Green Apples, O.C. Smith 13. Respect, Aretha Franklin 13. Mony Mony, Tommy James and The Shondells 24. Ruby Tuesday, The Rolling Stones 14. Hello, I Love You, The Doors 25. It Must Be Him, Vicki Carr 20. Dance to the Music, Sly and The Family Stone 30. All You Need Is Love, The Beatles 25. Judy In Disguise (With Glasses), John Fred & His 31. Release Me (And Let Me Love Again), Engelbert Humperdinck Playboy Band 33. Somebody to Love, Jefferson Airplane 27. Love Child, Diana Ross and The Supremes 35. Brown Eyed Girl , Van Morrison 28. Angel of the Morning, Merrilee Rush 36. Jimmy Mack, Martha and The Vandellas 29. The Ballad of Bonnie & Clyde, Georgie Fame 37. I Got Rhythm, The Happenings 30.
    [Show full text]
  • Copyrighted Material
    c01.qxd 11/20/04 3:39 PM Page 11 PART ONE Art and Culture: Use Only as Directed Copyright and trademark law is an important tool in incubating new cre- ativity and building a culture. By giving creators a property right in their works, the law stimulates the development of all sorts of new works. What is not appreciated as much is how overly broad copyright and trademark laws can sabotage creative production. Artists necessarily must draw upon works of the past.They also must be able to modify and trans- form prior works and collaborate and share with fellow artists. Since copyrights and trademarks are essentially monopoly rights, the question thus becomes: How far should intellectual property protection extend? What is the proper balance? As the stories of Part One illustrate, the intended balance of copyright and trademark law has gotten seriously out of whack. The chief propo- nents of broader, longer, and stricter forms of protection are the various “content industries” that produce music, film, photographs, literature, journalism, and entertainment. They like broad legal protection for their works because it makes those works more valuable. Owning the copy- right on, say, a Beatles tune for an extra twenty years could easily be worth a fortune. Broader protection also privileges commodified works over “nonmarket”COPYRIGHTED creativity such as folk traditions,MATERIAL public dialogue, art, scholarship, and the works of online communities. It is a complicated business drawing the lines of protection properly. But the following stories show that appropriate limits for copyright and trademark protection have been transgressed time and again.
    [Show full text]
  • The Sock Hop and the Loft: Jazz, Motown, and the Transformation of American Culture, 1959-1975
    The Sock Hop and the Loft: Jazz, Motown, and the Transformation of American Culture, 1959-1975 The Commerce Group: Kat Breitbach, Laura Butterfield, Ashleigh Lalley, Charles Rosentel Steve Schwartz, Kelsey Snyder, Al Stith In the words of the prolific Peter Griffin, “It doesn’t matter if you’re black or white. The only color that really matters is green.” Notwithstanding the music industry’s rampant racism, the clearest view of how African Americans transformed popular music between 1959 and 1975 is through the lens of commerce. Scrutinizing the relationship between creators and consumers opens up a broad view of both visual and auditory arts. The sources we selected range from cover art and an Andy Warhol silkscreen to books on the industry’s backroom deals and the Billboard Hot 100 to a retrospective Boyz II Men album on Motown’s history and an NPR special on Jimi Hendrix for kids. Combining both sight and sound, we offer online videos, a documentary on jazz, and blaxploitation films. The unparalleled abilities of Motown’s music to transcend racial barriers and serve as a catalyst for social change through an ever-widening audience necessitates a study of Berry Gordy’s market sense and the legacy of his “family” in popular culture from the 1970s through today. First, the ubiquity of the Motown sound meant that a young, interracial audience enjoyed music that had been largely exclusive to black communities. The power of this “Sound of Young America” crossover was punctuated by Dr. Martin Luther King Jr.’s affirmation in his “Transforming a Neighborhood into a Brotherhood” address that radio’s capacity to bridge black and white youth through music and create “the language of soul” surpasses even Alexander the Great’s conquests.
    [Show full text]
  • The Top 200 Greatest Funk Songs
    The top 200 greatest funk songs 1. Get Up (I Feel Like Being a Sex Machine) Part I - James Brown 2. Papa's Got a Brand New Bag - James Brown & The Famous Flames 3. Thank You (Falletinme Be Mice Elf Agin) - Sly & The Family Stone 4. Tear the Roof Off the Sucker/Give Up the Funk - Parliament 5. Theme from "Shaft" - Isaac Hayes 6. Superfly - Curtis Mayfield 7. Superstition - Stevie Wonder 8. Cissy Strut - The Meters 9. One Nation Under a Groove - Funkadelic 10. Think (About It) - Lyn Collins (The Female Preacher) 11. Papa Was a Rollin' Stone - The Temptations 12. War - Edwin Starr 13. I'll Take You There - The Staple Singers 14. More Bounce to the Ounce Part I - Zapp & Roger 15. It's Your Thing - The Isley Brothers 16. Chameleon - Herbie Hancock 17. Mr. Big Stuff - Jean Knight 18. When Doves Cry - Prince 19. Tell Me Something Good - Rufus (with vocals by Chaka Khan) 20. Family Affair - Sly & The Family Stone 21. Cold Sweat - James Brown & The Famous Flames 22. Out of Sight - James Brown & The Famous Flames 23. Backstabbers - The O'Jays 24. Fire - The Ohio Players 25. Rock Creek Park - The Blackbyrds 26. Give It to Me Baby - Rick James 27. Brick House - The Commodores 28. Jungle Boogie - Kool & The Gang 29. Shining Star - Earth, Wind, & Fire 30. Got To Give It Up Part I - Marvin Gaye 31. Keep on Truckin' Part I - Eddie Kendricks 32. Dazz - Brick 33. Pick Up the Pieces - Average White Band 34. Hollywood Singing - Kool & The Gang 35. Do It ('Til You're Satisfied) - B.T.
    [Show full text]
  • Interdisciplinary Lesson: “Twist and Shout”
    INTERDISCIPLINARY LESSON: “TWIST AND SHOUT” OVERVIEW ESSENTIAL QUESTION What role did cover songs like “Twist and Shout” play early in the Beatles’s career, and how did their experiences growing up in post- WWII Liverpool and performing in Hamburg nightclubs help them to develop as a professional musical ensemble? OVERVIEW People: The Beatles In late-1950s Liverpool, a teenage John Lennon teamed up with Paul McCartney to form the Quarrymen, a group that by 1960 would become the Beatles. As teenagers, Lennon and McCartney were initially drawn to Skiffle music. Skiffle, which developed in Britain after World War II, was a kind of street music that relied on homemade or inexpensive instruments—often a washtub bass, a washboard, a banjo and an acoustic guitar—and combos generally played covers of Folk and Blues- style songs. Similar in ways to Punk and Hip Hop, Skiffle players were not always reliant on traditional venues, expensive equipment or in-depth knowledge of an instrument. Because of this, young musicians without much money or experience, including Lennon and McCartney, found the genre accessible. It was their door in. By 1960, Lennon and McCartney had transformed their band into a more professional operation. Now calling themselves the Beatles, their ensemble included lead guitarist George Harrison and drummer Pete Best, who would later be replaced by Ringo Starr. The group had incorporated more Rock and Roll and Rhythm and Blues covers into their repertoire and were soon performing gigs in dancehalls and nightclubs. Between 1960 and 1962, the Beatles were hired to play several residencies at nightclubs in Hamburg, Germany, including the Kaiserkeller and the Indra Club.
    [Show full text]
  • Twist and Shout -The Beatles– Notes 
    Twist and Shout -The Beatles– Notes Activity type: gap fill, listening for specific words. Time: 15 mins. This song was made famous by the Isley Brothers in 1962, then covered by The Beatles, who used it to end many of their early live performances. 1) Write the following words on the board: twist work 2) Play the first verse of the honey song. Students put the look like words in the correct order they hear them, then check shake with a partner. 3) Write the following words on the board: twist out 4) Play the second verse of fine closer the song. Students put the words in the correct baby order they hear them, then mine check with a partner. girl 5) Give each student a copy of the worksheet. Students complete the text based on their answers to the previous steps. 6) Correct. Point out the difference between your and you’re. 7) Sing together. Try to get half the students to sing the lead, and the other half to sing the backing. This worksheet is to be used for educational purposes only Activity © Tune into English 2007 – www.tuneintoenglish.com Worksheet written by Prof. Analía Massa, Buenos Aires, Argentina Twist and Shout -The Beatles (written by Russell and Medley) Verse 1 Well, _________ it up, baby, now (_________ it up, baby) _________ and shout (_________ and shout) C’mon, c’mon, c’mon, c’mon, baby, now (come on baby) Come on and _________ it on out (_________ it on out) Well, work it on out, _________ (work it on out) You know you _________ so good (_________ so good) You know you got me going, now (got me going) Just _________
    [Show full text]
  • It's All Good Chicago , Illinois, 31 October 2009
    IT’S ALL GOOD BOB DYLAN 2009 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, RECORDINGS & BOOKS. © 2011 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. It’s All Good — Bob Dylan 2009 page 2 of 133 1 INTRODUCTION .............................................................................................................................. 4 2 2009 AT A GLANCE ......................................................................................................................... 4 3 THE 2009 CALENDAR ..................................................................................................................... 4 4 NEW RELEASES AND RECORDINGS........................................................................................... 6 4.1 Together Through Life ................................................................................................................. 6 4.2 Christmas In The Heart ................................................................................................................ 7 4.3 The People Speak ......................................................................................................................... 7 4.4 Web Bob ....................................................................................................................................... 8 4.5 New recordings in circulation 2009 ............................................................................................
    [Show full text]
  • Top Pop Singles 1955-2015
    CONTENTS Author’s Note .............................................................................................................................................................. 5 What’s New With This Edition ..................................................................................................................................... 6 Researching Billboard’s Pop Charts ........................................................................................................................... 7 Explanation of Artist And Song Awards .................................................................................................................... 10 User’s Guide ............................................................................................................................................................. 11 THE ARTIST SECTION .................................................................................................................................. 15 An alphabetical listing, by artist, of every song that charted on Billboard’s pop singles charts from 1/1/1955 through 12/26/2015. THE SONG TITLE SECTION .................................................................................................................... 979 An alphabetical listing, by song title, of every song that charted on Billboard’s pop singles charts from 1/1/1955 through 12/26/2015. THE BACK SECTIONS THE TOP ARTISTS: .......................................................................................................................................
    [Show full text]