Monks - Demo Tapes 1965 Label: Munster/Play Loud! Format: CD, LP
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Porchfest 2017.Final
Original Porchfest art by Nina Widger created for our 2016 intersection repair project at Lewis and Auburn Streets Sunday, September 24, 2017 12:00 pm - 6:00 pm SPONSORED BY: Mobile schedule at porchfest.org/m/ For more information visit us at www.porchfest.org 2017 Porchfest Musicians ¡Viva Mayhem! (104 Adams St, 5pm): High energy avant-garde ska/punk The 18 Strings of Luv (105 King St, 5pm): Great tunes from the ‘60s A and the B’s (708 N Aurora St, 4pm): A folky / bluesy / rock trio with a spiritual touch A Fine Line (202 Utica St., 12pm): Groove rock with sax appeal The Accords (308 Utica St, 4pm): Five voices and no instruments, street corner style Ageless Jazz Band (Thompson Park, 2pm): 17-or-so-piece Jazz Big Band, great for dancing All Strung Out (313 Utica St, 2pm): Two guitars, flute, harmonica, mandolin, hand percussion, bass Amongst the Monks (104 Adams St, 12pm): A fusion of sounds in order to create deep thoughts Amplified Silence (209 E Jay St, 12pm): A performance of Cartridge Music (1960), by John Cage Andrew Alling (511 N Aurora St, 12pm): Simultaneous guitar, organ, bass, keyboard, harmonica Anna Coogan’s Amazing Students (304 E Marshall St, 1pm): Vocal, guitar and songwriting students Aria (213 2nd St, 5pm): Uplifting, original music Arthur B and The Planetary Mix (602 N Cayuga St, 4pm): Bringing on the vibes w/ cosmic, funky soul Auntie Emo’s Ukulele Showcase (204 W Yates St, 2pm): Sampler of ukulele players in Ithaca Austin Wyckoff (108 W Lewis St, 4pm): Expressive folk, dark acoustic banyantree (1101 N Cayuga St, -
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. -
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35. -
It's Monk Time
Sonntag, 13. März 2016 (20:05-21:00 Uhr) KW 10 Deutschlandfunk - Musik & Information FREISTIL It’s Monk Time – Die irre Geschichte einer amerikanischen Beatband in der deutschen Provinz Von Tom Noga Redaktion: Klaus Pilger Produktion: DLF 2013 M a n u s k r i p t ACHTUNG: Die Wiederholung wurde wegen einer Sondersendung zu den Wahlen gekürzt. Dies ist das Manuskript entsprechend der Original-Länge! Urheberrechtlicher Hinweis Dieses Manuskript ist urheberrechtlich geschützt und darf vom Empfänger ausschließlich zu rein privaten Zwecken genutzt werden. Die Vervielfältigung, Verbreitung oder sonstige Nutzung, die über den in §§ 44a bis 63a Urheberrechtsgesetz geregelten Umfang hinausgeht, ist unzulässig. © - ggf. unkorrigiertes Exemplar - Regie Musik 1 („Blast Off “ von den Monks) startet. Darüber: O-Ton 1 Gary Burger (unübersetzt) “Monk music is original protest music. Monk music is music to make love by. Monk Music is music to relax by.” Regie Musik 1 mit dem Feedback bei 0:12 hoch ziehen. Soll bis ca 0:30 frei stehen. Darüber: Sprecher 2 Eddie Shaw (aus dem Buch „Black Monk Time“) Eines Nachts stieß Roger mich auf dem Weg von der Bühne zum Umkleideraum an. „Die beiden Typen da, die habe ich schon ein paar Mal hier gesehen.“ Ich guckte rüber. „Du meinst die beiden in den Geschäftsanzügen? Sind mir auch aufgefallen. Normale Fans sind das nicht.“ Am nächsten Abend luden uns die beiden Männer in einer Pause zwischen zwei Sets zu sich an den Tisch ein. Nachdem wir uns vorgestellt hatten, sagte der Kleinere der beiden, der mit dem blonden Raspelschnitt: „Ich bin Walther, und mein Kollege heißt Karl. -
Rock in the Reservation: Songs from the Leningrad Rock Club 1981-86 (1St Edition)
R O C K i n t h e R E S E R V A T I O N Songs from the Leningrad Rock Club 1981-86 Yngvar Bordewich Steinholt Rock in the Reservation: Songs from the Leningrad Rock Club 1981-86 (1st edition). (text, 2004) Yngvar B. Steinholt. New York and Bergen, Mass Media Music Scholars’ Press, Inc. viii + 230 pages + 14 photo pages. Delivered in pdf format for printing in March 2005. ISBN 0-9701684-3-8 Yngvar Bordewich Steinholt (b. 1969) currently teaches Russian Cultural History at the Department of Russian Studies, Bergen University (http://www.hf.uib.no/i/russisk/steinholt). The text is a revised and corrected version of the identically entitled doctoral thesis, publicly defended on 12. November 2004 at the Humanistics Faculty, Bergen University, in partial fulfilment of the Doctor Artium degree. Opponents were Associate Professor Finn Sivert Nielsen, Institute of Anthropology, Copenhagen University, and Professor Stan Hawkins, Institute of Musicology, Oslo University. The pagination, numbering, format, size, and page layout of the original thesis do not correspond to the present edition. Photographs by Andrei ‘Villi’ Usov ( A. Usov) are used with kind permission. Cover illustrations by Nikolai Kopeikin were made exclusively for RiR. Published by Mass Media Music Scholars’ Press, Inc. 401 West End Avenue # 3B New York, NY 10024 USA Preface i Acknowledgements This study has been completed with the generous financial support of The Research Council of Norway (Norges Forskningsråd). It was conducted at the Department of Russian Studies in the friendly atmosphere of the Institute of Classical Philology, Religion and Russian Studies (IKRR), Bergen University. -
“Punk Rock Is My Religion”
“Punk Rock Is My Religion” An Exploration of Straight Edge punk as a Surrogate of Religion. Francis Elizabeth Stewart 1622049 Submitted in fulfilment of the doctoral dissertation requirements of the School of Language, Culture and Religion at the University of Stirling. 2011 Supervisors: Dr Andrew Hass Dr Alison Jasper 1 Acknowledgements A debt of acknowledgement is owned to a number of individuals and companies within both of the two fields of study – academia and the hardcore punk and Straight Edge scenes. Supervisory acknowledgement: Dr Andrew Hass, Dr Alison Jasper. In addition staff and others who read chapters, pieces of work and papers, and commented, discussed or made suggestions: Dr Timothy Fitzgerald, Dr Michael Marten, Dr Ward Blanton and Dr Janet Wordley. Financial acknowledgement: Dr William Marshall and the SLCR, The Panacea Society, AHRC, BSA and SOCREL. J & C Wordley, I & K Stewart, J & E Stewart. Research acknowledgement: Emily Buningham @ ‘England’s Dreaming’ archive, Liverpool John Moore University. Philip Leach @ Media archive for central England. AHRC funded ‘Using Moving Archives in Academic Research’ course 2008 – 2009. The 924 Gilman Street Project in Berkeley CA. Interview acknowledgement: Lauren Stewart, Chloe Erdmann, Nathan Cohen, Shane Becker, Philip Johnston, Alan Stewart, N8xxx, and xEricx for all your help in finding willing participants and arranging interviews. A huge acknowledgement of gratitude to all who took part in interviews, giving of their time, ideas and self so willingly, it will not be forgotten. Acknowledgement and thanks are also given to Judy and Loanne for their welcome in a new country, providing me with a home and showing me around the Bay Area. -
HIPSVILLE Carnival a Go Go! the Wildest '60S & Beyond Party
May 10, 2016 09:30 BST HIPSVILLE Carnival A Go Go! The Wildest ’60s & Beyond Party Festival Weekend - May 13th -15th! HIPSVILLE A Go Go! is where crazy people from all the corners of Europe, and beyond, get together to dance and party at a carnival-themed weekend to the wildest rock'n'roll and soul sounds of the 1960s and beyond! With thirteen live bands, top international DJs, caged go go dancers, hot rods and gorillas plus a whole bunch of people looking for a good time, that's HIPSVILLE Carnival A Go Go! Watch video on YouTube here Saturday and Sunday afternoon its tiki time! At the HIPSVILLE Tiki party, taking place in the exotically themed bar they call Tikiville, you can party throughout the afternoon with DJs and go go girls, plus our Hipsville's very own cocktail mixer will add some extra hula hula to your drinks and your afternoon. But wait, there's even more, as on Sunday we have the added attraction of the HIPSVILLE AUTO SHOW. Last year it was a huge success with over 80 cars rolling in. So in 2016 roll up in or on your ride or just look enviously at some of the coolest sets of wheels on the road. In addition to the music, girls and the cars, HIPSVILLE Carnival A Go Go! also has a three-day vintage market with stalls selling food, clothes, records and home wear, perfect for those looking for something cool to wear or maybe something hip for their home. Swiss garage punks THE JACKETS combine sixties garage, mod, ’77 punk rock, psychedelia and their devotion to bands like The MC5, The Monks, and The Music Machine. -
The Benedictine Monks of Christ in the Desert Monastery Amy Suzanne Gillespie
University of New Mexico UNM Digital Repository Music ETDs Electronic Theses and Dissertations 8-25-2016 Chant and Transformation: The Benedictine Monks of Christ in the Desert Monastery Amy Suzanne Gillespie Follow this and additional works at: https://digitalrepository.unm.edu/mus_etds Recommended Citation Gillespie, Amy Suzanne. "Chant and Transformation: The Benedictine Monks of Christ in the Desert Monastery." (2016). https://digitalrepository.unm.edu/mus_etds/12 This Thesis is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Music ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. Amy Suzanne Gillespie Candidate Music Department This thesis is approved, and it is acceptable in quality and form for publication: Approved by the Thesis Committee: Dr. Ana R. Alonso-Minutti, Chairperson Dr. Kristina M. Jacobsen Dr. David M. Bashwiner i CHANT AND TRANSFORMATION: THE BENEDICTINE MONKS OF CHRIST IN THE DESERT MONASTERY by AMY SUZANNE GILLESPIE BACHELOR OR ARTS, MATHEMATICS, 1975 MASTER OF MANAGEMENT, 1987 BACHELOR OF ARTS, CONTEMPORARY MUSIC, 2009 THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music The University of New Mexico Albuquerque, New Mexico July, 2016 ii ACKNOWLEDGMENTS I am forever grateful to the monks of Christ in the Desert for their willingness to engage in this project. Their unending hospitality, inseparable love for God and neighbor, forthright conversation, and friendship are a testimony to their solicitude to the Benedictine way of life. I am particularly grateful to Abbot Philip Lawrence, who was always willing to assist me with my interpretations and reflections and to Brother Leander Hogg, who, out of nowhere, would provide insight and inspiration at just the appropriate time. -
“Meaningful Lyrics, Close to Philosophical Activism!” Raymond
“CAUTION! Syl and Ric' songs provoke earworm! “Meaningful lyrics, Once you have heard them, they will get stuck in your head!” close to Philosophical Activism!” Laura André Raymond Gagnon “Their music stands out and is extremely 'Syl & Ric serve up a seventies-era sunflower of songs, imbued with all the likeable.” flowery charm of that long-vanished island of unsardonic art.' Tina Mary Britton Akademia Music Award - May 2015 1 Syl Chad (FR) Ric Meric (FR) plays the rhythm guitar and is the lead singer sings and plays the lead guitar. Ric writes most of the band. She has a colorful timbre of voice: of the band’s songs. His refreshing guitar solos with clear and ringing in its upper reaches, with are a blend of Carlos Santana and gravelly and profound low notes. Her unique Django Reinhardt styles, with a pinch of Indian way of singing is inspired by the greatest sitar. When he was a teen, he started his French singers, such as Edith Piaf, Nana musical career playing the bass in a Rock & Roll Mouskouri and Michel Jonasz. Among her band. When Syl & Ric recorded their first favorite female singer, Ella Fitzgerald albums, Ric played the bass too, for the comes in first place. occasion. Website: www.sylandric.com Youtube: www.youtube.com/sylandricmusic Facebook: www.facebook.com/SylAndRic ReverbNation: www.reverbnation.com/sylricfolkjazzband Email : [email protected] Tel : +34 669 113 486 :: A short introduction :: Audiences of all ages and styles find a quick connection to the lyric-driven songs, sound, and overall energy that Syl & Ric convey in the studio and during live performances. -
The Wonder Years Episode & Music Guide
The Wonder Years Episode & Music Guide “What would you do if I sang out of tune … would you stand up and walk out on me?" 6 seasons, 115 episodes and hundreds of great songs – this is “The Wonder Years”. This Episode & Music Guide offers a comprehensive overview of all the episodes and all the songs played during the show. The episode guide is based on the first complete TWY episode guide which was originally posted in the newsgroup rec.arts.tv in 1993. It was compiled by Kirk Golding with contributions by Kit Kimes. It was in turn based on the first TWY episode guide ever put together by Jerry Boyajian and posted in the newsgroup rec.arts.tv in September 1991. Both are used with permission. The music guide is the work of many people. Shane Hill and Dawayne Melancon corrected and inserted several songs. Kyle Gittins revised the list; Matt Wilson and Arno Hautala provided several corrections. It is close to complete but there are still a few blank spots. Used with permission. Main Title & Score "With a little help from my friends" -- Joe Cocker (originally by Lennon/McCartney) Original score composed by Stewart Levin (episodes 1-6), W.G. Snuffy Walden (episodes 1-46 and 63-114), Joel McNelly (episodes 20,21) and J. Peter Robinson (episodes 47-62). Season 1 (1988) 001 1.01 The Wonder Years (Pilot) (original air date: January 31, 1988) We are first introduced to Kevin. They begin Junior High, Winnie starts wearing contacts. Wayne keeps saying Winnie is Kevin's girlfriend - he goes off in the cafe and Winnie's brother, Brian, dies in Vietnam. -
The History of Rock Music: 1955-1966
The History of Rock Music: 1955-1966 Genres and musicians of the beginnings History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) The Flood 1964-1965 (These are excerpts from my book "A History of Rock and Dance Music") The Tunesmiths TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The Beach Boys' idea of wedding the rhythm of rock'n'roll and the melodies of pop music was taken to its logical conclusion in Britain by the bands of the so- called "Mersey Sound". The most famous of them, the Beatles, became the object of the second great swindle of rock'n'roll. In 1963 "Beatlemania" hit Britain, and in 1964 it spread through the USA. They became even more famous than Presley, and sold records in quantities that had never been dreamed of before them. Presley had proven that there was a market for rock'n'roll in the USA. Countless imitators proved that a similar market also existed in Europe, but they had to twist and reshape the sound and the lyrics. Britain had a tradition of importing forgotten bluesmen from the USA, and became the center of the European recording industry. European rock'n'roll was less interested in innuendos, more interested in dancing, and obliged to merge with the strong pop tradition. -
Pop Music History: the 1960S “Bri?Sh Invasion”
Pop Music History: The 1960s “Brish Invasion” Everyone loves the songs of the early 1960s. Do you know how those songs and bands became popular? Here is what happened. During World War II, many men went away to fight. The war ended in 1945. Soon they were back home and working again. They began to get married. They began to have families. All of a sudden, it seemed, many people were having babies. There were a LOT of babies. They call this me in the 40s and 50s the “Baby Boom.” Then in the 1960s, all those babies were growing up. Now they were teenagers. 70 million! It was a modern age. They called it the Jet Age. Kennedy was President. Young people liked new things, and new music. They liked “mod.” Teenagers oen like to be different from their parents, as they grow up. The 1960s teens had their own culture. Some boys grew their hair longer. They loved pop music. Everyone forgot about Elvis when the Beatles appeared on TV on the Ed Sullivan show in the U.S. in 1964. The Beatles became so popular so quickly, the press called their arrival in the U.S. the “Brish Invasion.” Teens loved the blues‐based, guitar‐ led sound of the Beatles and other Brish groups. They bought all their records. They requested the songs on the radio. They went to their concerts. Other performers were popular, too. Dusty Springfield had big hits, including “I Only Want to Be With You” in 1963. The Hollies had lots of hits, including “Bus Stop” in 1966.