DAYTON - January 2014 - ISSUE 21
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John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums. -
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. -
Badfinger Rock N Roll Contract Head First
Badfinger Rock N Roll Contract Head First Uncurtained Rudy certificates turbidly. Colored and oblate Wyndham eradicated her apperceptions confuse unforgettably or crayoninglowing certainly, and dotings is Zack warningly, psychoanalytical? ailurophilic Dietrich and untreatable. oxidize his pyrethrin faceting continually or excusably after Yanaton Although the overcrowded space between their library on the same time helping a short time had been released music or new to the rock n roll Subscribe to head first contract that the contracts that resulted in. We will be seen evans and roll. Ringo Starr replaced original drummer Pete Best. Thank you through the rock, which they were growing despair and delivery estimates may not load its start in rock n roll contract. Plus the rock n roll radio show her father picked a pauper with. Pete ham being an alternative feel comfortable confiding in badfinger had hanged himself from head first month website organizes giveaways between harck, badfinger rock n roll contract head first. Separate songs did rather than that the music or id that i somehow doubt it was rolling stone magazine called it for another album on new york. Willow springs ranch home only half their badfinger songwriting royalties began appearing at number five weeks later the badfinger rock n roll contract head first contract advances were paid the rock. Although badfinger if they complained about badfinger rock n roll contract head first. He do we are plenty waiting fruitlessly for all the members and recut some elements in the charts and beatles themselves from head first. In the misery, the topic kept touring and writing. -
US Apple LP Releases
Apple by the Numbers U.S. album releases From the collection of Andre Gardner of NY, NY SWBO‐101 The Beatles The Beatles Released: 22 Nov. 1968 (nicknamed "The White Album") In stark contrast to the cover to Sgt. Pepper's LHCB, the cover to this two record set was plain white, with writing only on the spine and in the upper right hand corner of the back cover (indicating that the album was in stereo). This was the first Beatles US album release which was not available in mono. The mono mix, available in the UK, Australia, and several other countries, sounds quite different from the stereo mix. The album title was embossed on the front cover. Inserts included a poster and four glossy pictures (one of each Beatle). The pictures were smaller in size than those issued with the UK album. A tissue paper separator was placed between the pictures and the record. Finally, as in every EMI country, the albums were numbered. In the USA, approximately 3,200,000 copies of the album were numbered. These albums were numbered at the different Capitol factories, and there are differences in the precise nature of the stamping used on the covers. Allegedly, twelve copies with east‐coast covers were made that number "A 0000001". SI = 2 ST 3350 Wonderwall Music George Harrison Released: 03 Dec. 1968 issued with an insert bearing a large Apple on one side. Normal Copy: SI = 2 "Left opening" US copy or copy with Capitol logo: SI = 7 T‐5001 Two Virgins John Lennon & Yoko Ono Released: January, 1969 (a.k.a. -
Glass Onion Tapestry
June 2014 Press Release Dovecot Studios and Magne Furuholmen collaborate to create Glass Onion tapestry Following an introduction from Paul Stolper, Dovecot Studios are delighted to be working with Norwegian artist Magne Furuholmen on an exciting new collaboration in tapestry. Dovecot invited Furuholmen to the Studios in early 2013 to consider a tapestry project and following a series of conversations with Dovecot’s weaving team, he returned to the studios in late April 2014 with a selection of design ideas derived from a series of ten large format woodcut prints collectively known as Norwegian Wood. Furuholmen has created a new print titled Glass Onion, specifically as a design for the tapestry, using music as its main reference point. Dovecot are particularly thrilled by this project as Furuholmen’s holistic approach to his practice as an artist - continually assessing his modus operandi and experimenting with various media – will ensure that his involvement in the creation of Glass Onion will be rewarding for all those who are involved in the process. The Glass Onion tapestry will be woven at Dovecot under the supervision of Master Weaver Naomi Robertson. This process will begin in June 2014 and continue throughout the Edinburgh Art Festival to be completed before embarking on a tour in late September. Three of Furuholmen’s Glass Onion woodblock prints will be displayed as part of Dovecot’s summer exhibition Current Exchanges: Dovecot and the Australian Tapestry Workshop, and viewers will be able to watch the weavers work on the tapestry from the Balcony. A major exhibition of Magne Furuholmen’s work is scheduled at Dovecot for early 2015. -
Apple Label Discography
Apple Label Discography 100-800 series (Capitol numbering series) Apple Records was formed by John Lennon, Paul McCartney, George Harrison and Ringo Starr in 1968. The Apple label was intended as a vehicle for the Beatles, their individual recordings and the talent they discovered. A great deal of what appeared on Apple was pretty self indulgent and experimental but they did discover a few good singers and groups. James Taylor recorded his first album on the label. Doris Troy recorded a good soul album and there are 2 albums by John Lewis and the Modern Jazz Quartet. The Beatlesque group Badfinger also issued several albums on the label, the best of which was “Straight Up”. Apple Records fell apart in management chaos in 1974 and 1975 and a bitter split between the Beatles over the management of the company. Once the lawyers got involved everybody was suing everybody else over the collapse. The parody of the Beatles rise and the disintegration of Apple is captured hilariously in the satire “All You Need Is Cash: the story of the Rutles”. The Apple label on side 1 is black with a picture of a green apple on it, black printing. The label on side 2 is a picture of ½ an apple. From November 1968 until early 1970 at the bottom of the label was “MFD. BY CAPITOL RECORDS, INC. A SUBSIDIARY OF CAPITOL INDUSTRIES INC. USA”. From Early 1970 to late 1974, at the bottom of the label is “MFD. BY APPLE RECORDS” From late 1974 through 1975, there was a notation under the “MFD. -
Beatles Answers
1. John Lennon 2. Paul McCartney 3. George Harrison 4. Ringo Starr 5. Pete Best 6. Brian Epstein 7. Stu Sutcliffe 8. Billy Preston 9. George Martin 10. Astrid Kirshner 11. Meet the Beatles 12. A Hard Day’s Night 13. Let It Be 14. Revolver 15. The Beatles (1/2 point for “The White Album”) 16. I Saw Her Standing There 17. Lovely Rita 18. Day Tripper 19. Hey Jude 20. Good Day Sunshine 21. Sgt. Pepper’s Lonely Hearts Club Band (NOT “A Little Help from my Friends”) 22. Eleanor Rigby 23. Get Back 24. Ob-La-Di Ob-La-Da 25. Rocky Raccoon 26. Salvation Army house near John’s childhood home 27. A street near John’s childhood home in Liverpool 28. A street in the Hollywood Hills where George rented a house in 1967 29. A Day in the Life 30. Being for the Benefit of Mr. Kite 31. The Quarrymen 32. Rory Storm and the Hurricanes 33. Can’t Buy Me Love 34. Twist and Shout 35. She Loves You 36. I Want to Hold Your Hand 37. Please Please Me 38. I Want to Hold Your Hand 39. The Long and Winding Road 40. “1” (in the year 2000) 41. Peter & Gordon 42. “A World Without Love” 43. On the set of the movie “A Hard Day’s Night” (she was an extra) 44. Eric Clapton 45. John Lennon’s mother, Julia 46. Revolution #9 47. Strawberry Fields Forever 48. Glass Onion 49. She’s Leaving Home 50. I’m So Tired 51. -
Rock & Roll's War Against
Rock & Roll’s War Against God Copyright 2015 by David W. Cloud ISBN 978-1-58318-183-6 Tis book is published for free distribution in eBook format. It is available in PDF, Mobi (for Kindle, etc.) and ePub formats from the Way of Life web site. See the Free eBook tab at www.wayofife.org. We do not allow distribution of our free books from other web sites. Published by Way of Life Literature PO Box 610368, Port Huron, MI 48061 866-295-4143 (toll free) - [email protected] www.wayofife.org Canada: Bethel Baptist Church 4212 Campbell St. N., London Ont. N6P 1A6 519-652-2619 Printed in Canada by Bethel Baptist Print Ministry ii Table of Contents Introduction ...........................................................................1 What Christians Should Know about Rock Music ...........5 What Rock Did For Me ......................................................38 Te History of Rock Music ................................................49 How Rock & Roll Took over Western Society ...............123 1950s Rock .........................................................................140 1960s Rock: Continuing the Revolution ........................193 Te Character of Rock & Roll .........................................347 Te Rhythm of Rock Music .............................................381 Rock Musicians as Mediums ...........................................387 Rock Music and Voodoo ..................................................394 Rock Music and Insanity ..................................................407 Rock Music and Suicide ...................................................429 -
Ist Der Dritte Teil Der Vorrätigen APPLE-Interpreten
Montag, 16. Mai 2011: Hier ist der dritte Teil der vorrätigen APPLE-Interpreten: CDs: APPLE-Interpreten (Teil 3: remasterte CDs) Alle Veröffentlichungen: Dienstag, 26. Oktober 2010. Veröffentlichungen bei APPLE und auch spätere von Künstler, die bei der BEATLES-Plattenfirma APPLE waren (Ende der 1960er und '70er Jahre). BADFINGER: 2010er CD MAGIC CHRISTIAN MUSIC (Erstausgabe 1970). 17,90 Euro BADFINGER: Track 1: Come And Get It (2:21). BADFINGER: Track 2: Crimson Ship (3:42). THE IVEYS: Track 3: Dear Angie (2:39) (1969: LP MAYBE TOMORROW. Apple SAPCOR 8, Großbritannien) (1992: CD MAYBE TOMORROW, Capitol CDP 7 98692 2, Europa). THE IVEYS: Track 4: Fisherman (2:24) (1969: LP MAYBE TOMORROW. Apple SAPCOR 8, Großbritannien) (1992: CD MAYBE TOMORROW, Capitol CDP 7 98692 2, Europa). BADFINGER: Track 5: Midnight Sun (2:46). THE IVEYS: Track 6: Beautiful And Blue (2:40) (1969: LP MAYBE TOMORROW. Apple SAPCOR 8, Großbritannien) (1992: CD MAYBE TOMORROW, Capitol CDP 7 98692 2, Europa). BADFINGER: Track 7: Rock Of All Ages (3:16). BADFINGER: Track 8: Carry On Till Tomorrow (4:47). THE IVEYS: Track 9: I'm in Love (2:26) (1969: LP MAYBE TOMORROW. Apple SAPCOR 8, Großbritannien) (1992: CD MAYBE TOMORROW, Capitol CDP 7 98692 2, Europa). BADFINGER: Track 10: Walk Out In The Rain (3:27). THE IVEYS: Track 11: Angelique (2:28) (1969: LP MAYBE TOMORROW. Apple SAPCOR 8, Großbritannien) (1992: CD MAYBE TOMORROW, Capitol CDP 7 98692 2, Europa). THE IVEYS: Track 12: They're Knocking Down Our Home (3:40) (1969: LP MAYBE TOMORROW. Apple SAPCOR 8, Großbritannien) (1992: CD MAYBE TOMORROW, Capitol CDP 7 98692 2, Europa). -
Burr Box 1 Folders 1-15 Burr Box 2 Folders 16-36 Burr Box 3 Folders 37-52 Burr Box 4 Folders 53-72 Burr Box 5 Folders 73-80
Burr Box 1 folders 1-15 Burr Box 2 folders 16-36 Burr Box 3 folders 37-52 Burr Box 4 folders 53-72 Burr box 5 folders 73-80 [8/11/2009 – Rodi York] Burr Collection – page 2 Folder Items Group I – Peter Lord Correspondence (folders 1-6) 1 1 Burr Collection Index 2 6 Peter T. Lord, family letters 1805-1816 Hitta (Mehitabel Gillet) fr her brother Martin Gillet (Baltimore) 20 Nov 1805; in answer to letter of 30 Sept, Martin living with uncle Hitta (Mehitabel Gillet) fr her brother Martin Gillet (Baltimore) 10 Sept 1806; in answer to letter of 29 Aug, refers to death of “Cousin Hall” Hetta (Mehitabel Gillet) (Lyme) fr her brother Martin Gillet, nd; “. For my part I have tried different paths and find in the result that the less intercourse I have with mankind the less are my perplexities & the less I am harassed with anxiety which always press on the mind and increases dissatisfaction . .” Major Peter Lord (“Beloved parents”) (Lyme) fr daughter Sarah W. Lord (Colchester) 12 July 181?; homesick, school, “. I have attended to drawing, painting, Grammar and Geography. There are young ladies who attend the same school I do, and attend to the same pursuits, and I find some of them to be very agreeable [?]. I like my boarding house, tolerable well, although the boarders complain very much of the food, but I have not thought much of that . .” Major Peter Lord (Lyme) fr Matthew Griswold (New Haven) 22 Oct 1816; “Judge Holmes has handed me a Paper signed with your name & request me to draw a Letter to the Govr requesting that you may be dismissed from further service in the Militia . -
Badfinger: La Maldición De Los “Nuevos Beatles”
Badfinger: la maldición de los “nuevos Beatles” “Without you es la canción más increíble de todos los tiempos” (Paul McCartney) “Tienes que contratar a un abogado y tienes que leerte todos esos contratos. Nosotros no nos leímos un contrato en nuestra vida” (Joey Molland, miembro superviviente de Badfinger) “Eran unos chiquillos y estaban confundidos. Es una vergüenza que cosas como éstas sucedan en el negocio de la música” (Stan Poses, vicepresidente de Badfinger Enterprises) Tres citas que resumen una traumática carrera. SiWilliam Shakespeare o León Tolstoi hubiesen escrito una novela sobre la ascensión y caída de un grupo musical, el resultado hubiese sido muy similar a la biografía de Badfinger. Lo que sucedió con aquel grupo es uno de los relatos más descorazonadores en la historia de la industria musical: cuatro veinteañeros que lo tenían todo para triunfar y que de hecho triunfaron… aunque una década más tarde dos de ellos ya se habían quitado la vida por causa de los problemas económicos; precisamente los dos que escribieron una canción que convirtió en multimillonarios a Harry Nilsson y Mariah Carey. Badfinger fueron exprimidos por la maquinaria discográfica. Exprimidos, masticados, digeridos y regurgitados sin recompensa alguna. Bueno, bonito, barato: Badfinger A finales de los sesenta el futuro de estos cuatro muchachos galeses no podía parecer más prometedor. Los cuatro famosos Beatles, que rara vez se ponían de acuerdo, sí coincidieron en una cosa: quedaron impresionados por el potencial de los jovencísimos Badfinger. No dudaron en contratarlos; de hecho, Badfinger fue el primer grupo fichado por Apple Records, la discográfica de los “cuatro fabulosos” de Liverpool. -
Strategic Intertextuality in Three of John Lennon╎s Late Beatles Songs
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 2 Issue 1 Article 11 July 2009 Strategic Intertextuality in Three of John Lennon’s Late Beatles Songs Mark Spicer Hunter College and City University of New York., [email protected] Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Music Commons Recommended Citation Spicer, Mark (2009) "Strategic Intertextuality in Three of John Lennon’s Late Beatles Songs," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 2 : Iss. 1 , Article 11. Available at: https://trace.tennessee.edu/gamut/vol2/iss1/11 This A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part I), edited by David Carson Berry is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. STRATEGIC INTERTEXTUALITY IN THREE OF JOHN LENNON’S LATE BEATLES SONGS* MARK SPICER his article will focus on an aspect of the Beatles’ compositional practice that I believe T merits further attention, one that helps to define their late style (that is, from the ground- breaking album Revolver [1966] onwards) and which has had a profound influence on all subsequent composers of popular music: namely, their method of drawing on the resources of pre-existing music (or lyrics, or both) when writing and recording new songs.