DOCSLIB.ORG

Jesse 'Ed' Davis Ululu Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Jesse 'Ed' Davis Ululu Mp3, Flac, Wma Jesse 'Ed' Davis Ululu mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Blues Album: Ululu Country: US Released: 1972 Style: Blues Rock MP3 version RAR size: 1706 mb FLAC version RAR size: 1942 mb WMA version RAR size: 1524 mb Rating: 4.8 Votes: 892 Other Formats: RA ADX AUD RA FLAC VOC AU Tracklist Hide Credits Red Dirt Boogie, Brother A1 3:44 Written-By – Jesse Davis* White Line Fever A2 Backing Vocals – The Charles Chalmers Singers*, Clydie King, Merry Clayton, Vanetta 3:03 Fields*Bass – Arnold RosenthalPiano – Stan Szeleste*Written-By – Merle Haggard Farther On Down The Road (You Will Accompany Me) A3 3:14 Piano – Albhy GalutenWritten-By – Jesse Davis*, Taj Mahal Sue Me, Sue You Blues A4 Backing Vocals – The Charles Chalmers Singers*, Clydie King, Merry Clayton, Vanetta 2:45 Fields*Bass – Billy Rich*Written-By – George Harrison My Captain A5 3:23 Bass – Billy Rich*Organ – Larry KnechtelPiano – Leon RussellWritten-By – Jesse Davis* Ululu B1 3:40 Backing Vocals – Chuck KirkpatrickPiano – Albhy GalutenWritten-By – Jesse Ed Davis Oh! Susannah B2 2:45 Arranged By – Jesse Davis*Written-By [Release Credit] – Trad.* Strawberry Wine B3 2:13 Written-By – Levon Helm, Robbie Robertson Make A Joyful Noise B4 3:51 Written-By – Jesse Davis* Alcatraz B5 3:15 Written-By – Leon Russell Companies, etc. Recorded At – Criteria Recording Studios Recorded At – Record Plant, Los Angeles Recorded At – The Village Recorder Distributed By – Atlantic Recording Corporation Phonographic Copyright (p) – Atlantic Recording Corporation Pressed By – PRC Recording Company, Richmond, IN Mastered At – Atlantic Studios Credits Bass – Donald "Duck" Dunn Design, Photography By – Barry Feinstein, Tom Wilkes Drums – Jim Keltner Engineer [Criteria Studios] – Chuck Kirkpatrick, Howie Albert*, Ronnie Albert* Engineer [Record Plant, Los Angeles, The Village Recorder] – Joe Zagarino Engineer [Record Plant, Los Angeles] – Lillian Douma Engineer [The Village Recorder] – Baker Bigsby Guitar, Vocals, Producer – Jesse Davis* Mastered By – GP* Organ, Piano – Mac Rebennack Producer – Albhy Galuten Notes Label variant: RI pressing Barcode and Other Identifiers Matrix / Runout (Side A Label): ST-C-712377RI Matrix / Runout (Side B Label): ST-C-712378RI Matrix / Runout (Side A): ST-C-712377 AAA AT/GP PR Matrix / Runout (Side B): ST-C-712378 AAA AT/GP PR Rights Society (A1 to B2, B4, B5): BMI Rights Society (B3): ASCAP Other versions Category Artist Title (Format) Label Category Country Year SD 33-382 Jesse Ed Davis Ululu (LP, Album) ATCO Records SD 33-382 US 1972 AMCY-2584 Jesse Ed Davis Ululu (CD, Album, RE) ATCO Records AMCY-2584 Japan 1998 Jesse 'Ed' K 40329 Ululu (LP, Album) Atlantic K 40329 UK 1972 Davis* Ululu (HDCD, Album, ATCO Records, WPCR-11463 Jesse Ed Davis WPCR-11463 Japan 2003 RE, RM) WEA ATL 40 329 Jesse Ed Davis Ululu (LP, Album) Atlantic ATL 40 329 Germany 1972 Related Music albums to Ululu by Jesse 'Ed' Davis Grandmaster Melle Mel - Jesse Vicky Payton - Jesse Jesse Lee Davis - Like A Flame Skeeter Davis - The Best Of Skeeter Davis Jesse Lynch - Jazz 101 Jesse Lee Davis - Is This Love Various - The Legend Of Jesse James Jesse Davis - Jesse Davis Jim & Jesse - Jim & Jesse Today! Alex Harvey - Souvenirs John Trudell - AKA Grafitti Man Jesse "Ed" Davis - Keep Me Comin'.
Load more

Recommended publications
  • Rock and Roll Rockandrollismyaddiction.Wordpress.Com
    The Band, Ten Years After , Keef Hartley Band , Doris Troy, John Lennon ,George Harrison, Leslie West, Grant Green, Eagles, Paul Pena, Bruce Springsteen, Peter Green, Rory Gallagher, Stephen Stills, KGB, Fenton Robinson, Jesse “Ed” Davis, Chicken Shack, Alan Haynes,Stone The Crows, Buffalo Springfield, Jimmy Johnson Band, The Outlaws, Jerry Lee Lewis, The Byrds , Willie Dixon, Free, Herbie Mann, Grateful Dead, Buddy Guy & Junior Wells, Colosseum, Bo Diddley, Taste Iron Butterfly, Buddy Miles, Nirvana, Grand Funk Railroad, Jimi Hendrix, The Allman Brothers, Delaney & Bonnie & Friends Rolling Stones , Pink Floyd, J.J. Cale, Doors, Jefferson Airplane, Humble Pie, Otis Spann Freddie King, Mike Fleetwood Mac, Aretha Bloomfield, Al Kooper Franklin , ZZ Top, Steve Stills, Johnny Cash The Charlie Daniels Band Wilson Pickett, Scorpions Black Sabbath, Iron Butterfly, Buddy Bachman-Turner Overdrive Miles, Nirvana, Son Seals, Jeff Beck, Eric Clapton John Mayall, Neil Young Cream, Elliott Murphy, Años Creedence Clearwater Bob Dylan Thin Lizzy Albert King 2 Deep Purple B.B. King Años Blodwyn Pig The Faces De Rock And Roll rockandrollismyaddiction.wordpress.com 1 2012 - 2013 Cuando decidimos dedicar varios meses de nuestras vidas a escribir este segundo libro recopilatorio de más de 100 páginas, en realidad no pensamos que tendríamos que dar las gracias a tantas personas. En primer lugar, es de justicia que agradezcamos a toda la gente que sigue nuestro blog, la paciencia que han tenido con nosotros a lo largo de estos dos años. En segundo lugar, agradecer a todos los que en determinados momentos nos han criticado, ya que de ellas se aprende. Quizás, en ocasiones pecamos de pasión desmedida por un arte al que llaman rock and roll.
    [Show full text]
  • 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.
    [Show full text]
  • Buck's 'Co Op' Plan Uncovered by ROGER WOO and the Private Corporation
    Buck's 'co op' plan uncovered By ROGER WOO AND the private corporation. After releasing two months, estimated Lefever. ject. need of housing in the immediate area. PAULINE BONDONNO the information, Murphy asked the Daily The housing complex would be available Murphy pointed out benefits of student One aspect holding the project back was A four-story, 84 -unit apartment complex not to print the details for fear of jeopar- to those people who are determined to be management "Students will know their land- approval from the state college Board of is now being planned under A.S. Pres. Mike dizing pending negotiations. of a low-income category. These would lord. They can spend the money budgeted Trustees. Buck, Spartan Daily reporters learned Wed- According to proposed plans, the un- include single students, and married stu- for maintenance anyway they want." Since Spartan Shops is incorporated, nesday. furnished complex would include 39 -one - dents with children where one or both "Although students will not own the Lefever believes the project will not need The $2.8 million low-income housing bedroom units, 41 two-bedroom units and parents work. It will be aimed at married entire project, students will manage the approval from the Board of Trustees on project, which has been erroneously termed 9 three -bedroom units. students. complex," according to Murphy. how students may spend their money. "co-operative" housing by Buck, will be Proposed rents for the housing project Murphy indicated it would take 40 years Facilities also included are a laundry "Legally Spartan Shops is a separate jointly funded by SJS, an unnamed private range from $100 from the one bedroom, to pay for the housing development.
    [Show full text]
  • Herb Alpert and Jerry Moss
    NONPERFORMERS Herb Alpert and Jerry Moss By Barney Hoskyns he history o f American pop music is record of some repute: H e’d cowritten hits with Sam filled with great partnerships. Most Cooke (including the wonderful “Wonderful World”) of them, from Rodgers & Hart to and fellow native Angeleno Lou Adler. But the dark, Jam & Lewis, are songwriting teams handsome trumpeter had little idea of the success in working under pressure to create store once he teamed up with New York—born pro­ hits for the stars of the day. But motion man Jerry Moss. occasionally fate brings together two highlyThe talented pair’s first label, the short-lived Carnival, was Tmen who create and build a record company with the labnched simply to release two singles they had made same love and dedication that goes into the best songs. independently of each other. “Jerry and I never had A&M Records, the brainchild of Herb Alpert and this master plan o f starting a label,” Alpert has said. “It Jerry Moss, remains one o f the greatest labels launched just happened.” September 1962 saw the release of the in the 1960s, a decade when thousands of independ­ first A&M single, Alpert’s “The Lonely Bull.” The ents were born in America. Home to an eclectic array mariachi-flavored instrumental struck gold, hitting of outstanding artists from Alpert himself to Janet Number Six by early December of the same year. Jackson, A& M reflected the passion and savvy o f the “For the first couple of years, it was really just two men.
    [Show full text]
  • 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.
    [Show full text]
  • Governance Referendum Drive On
    Governance Referendum Drive On A uam student group is cir­ Student Governance, should decide authority to call a student culating petitions on campus which type of governments will be referendwn - also said " The calling for a referendum to put on the referendum." petitions are a sign that students determine the form of student Elections Board have responded to a call that the government. Radding said the details of the legitimately established student A spokesperson for the referendum drive should be left to process be maintained. The rights Independent Students for the Elections Board. Board of students to govern themselves Democracy (ISD), said yesterday, member Andy Schneider, in has been reaffirmed. " the petitions call for a referendwn reaction, said the board will meet, on every form of government that as soon as the four open board Radding said response to the garners the support of 100 students. positions are filled, to consider all petition drive, which started The petition drive comes in the student proposals. _ Wednesday, has been "generally wake of a controversial call by Schneider - who said earlier this good." He said ISD hopes to have Chancellor McElroy for the week that he disagrees with the petitions completed " as soon as Elections Board to conduct a McElroy's position on who has the possible. " campus-wide referendum on student government in the ninth week. Who Has Authority? Hope for ~eeved Parkers: The controversy arose because some Election Board members feel McElroy does not have the authority to call a student Congestion to be Relieved Horses graze Peace/ully on the La Jolla Farms property, which is referendwn.
    [Show full text]
  • Off the Beaten Track
    Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center, our multimedia, folk-related archive). All recordings received are included in Publication Noted (which follows Off the Beaten Track). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention Off The Beaten Track. Sincere thanks to this issues panel of musical experts: Roger Dietz, Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Andy Nagy, Angela Page, Mike Regenstreif, Peter Spencer, Michael Tearson, Rich Warren, Matt Watroba, Elijah Wald, and Rob Weir. liant interpretation but only someone with not your typical backwoods folk musician, Jodys skill and knowledge could pull it off. as he studied at both Oberlin and the Cin- The CD continues in this fashion, go- cinnati College Conservatory of Music. He ing in and out of dream with versions of was smitten with the hammered dulcimer songs like Rhinordine, Lord Leitrim, in the early 70s and his virtuosity has in- and perhaps the most well known of all spired many players since his early days ballads, Barbary Ellen. performing with Grey Larsen. Those won- To use this recording as background derful June Appal recordings are treasured JODY STECHER music would be a mistake. I suggest you by many of us who were hearing the ham- Oh The Wind And Rain sit down in a quiet place, put on the head- mered dulcimer for the first time.
    [Show full text]
  • Than Just Flutes and Drums a Guide to American Indian Music
    Indian Education for All American Indian Music: More Than Just Flutes and Drums A Guide to American Indian Music Prepared for the the Office of Public Instruction By Scott S. Prinzing, M.Ed. MusEco Media and Education Project Winter, 2008 Montana Office of Public Instruction Linda McCulloch, Superintendent In-state toll free 1-888-231-9393 www.opi.mt.gov/IndianEd Table of Contents Introduction 2 Traditional American Indian Music 3 Issues to Consider for Music Educators 3 Development of American Indian Music 4 Traditional Music 4-5 Developments by Genre 6-10 Contemporary American Indian Music Web Resource List 11-12 Contemporary Popular Musicians with Indian Ancestry 13 American Indian Musicians in Montana 14-17 Montana Indian Music Hall of Fame 18 Native American Music Awards 19 American Indian Music and General Web Resources 20 Select Bibliography 20 About the Author 21 Montana Office of Public Instruction Linda McCulloch, Superintendent www.opi.mt.gov 1 Introduction The goal of American Indian Music: More Than Just Drums and Flutes is to assist Montana teachers in incorporating an appreciation for Indian music into music and social studies cur- ricula to meet Indian Education for All criteria. There is often confusion regarding terminology related to the study of the history and culture of the indigenous people of the North American continent. For the purposes of this handbook, the term “Native American” refers to the original human inhabitants (and their descendents) of this continent at the time of first recorded European contact (1492), including the contigu- ous United States, Alaska, Hawaii, Canada, Central America, and the Caribbean Islands.
    [Show full text]
  • “Statesboro Blues”—Blind Willie Mctell (1928) Added to the National Registry: 2015 Essay by Brian Bader
    “Statesboro Blues”—Blind Willie McTell (1928) Added to the National Registry: 2015 Essay by Brian Bader Blind Willie McTell Blind Willie McTell was born May 5, 1901 in Thomson, Georgia. Though there is some uncertainty about his birth year, his comparatively long life (he died on Aug. 19, 1959, in Milledgeville, Georgia), his prolific recording career, the memories of numerous acquaintances, and McTell’s own recorded reminiscences, allow for a full picture of his life. His skillful fingerpicking guitar style ranks high with the playing of other acoustic blues artists, both blind (Blind Boy Fuller, Blind Blake, Reverend Gary Davis) and sighted (Josh White, Brownie McGhee). Hard to categorize, McTell embodied Piedmont blues, as well as ragtime, and gospel/spiritual/religious music, and may best be described as a mid-twentieth century American songster. One of his tunes--“covered,” or more accurately freely adapted, in a powerful electric blues rendition by the Allman Brothers Band-- is his legacy. This number most familiar to modern blues and rock fans: “Statesboro Blues.” Recorded by McTell and self-accompanied on twelve- string guitar in 1928 for Victor records, it showcases his distinctive voice and his talented guitar playing. The Allman Brothers later credited their cover of the song to “Will McTell” on their live two-record album “At Filmore East” released in 1971 on Capricorn Records. Guitarists Duane Allman (using a slide) and Dickey Betts cut loose with their trademark twin lead guitar line up in a memorable reading as a jumping blues shuffle. In an analysis of the history of “Statesboro Blues,” however, it is important to note that between the McTell recording and the Allman Brothers, there is a version from 1968 by Taj Mahal on his debut album.
    [Show full text]
  • American Indian Music: Even More Than Drums and Flutes a Guide to American Indian Music
    American Indian Music: Even More Than Drums and Flutes A Guide to American Indian Music Prepared for the Montana Office of Public Instruction By Scott S. Prinzing, M.Ed. MusEco Media and Education Project www.MusEco.org www.EvenMore.tv Published Winter 2009 Revised January 2015 Introduction 3 Traditional American Indian Music 4 Issues to Consider for Music Educators 4 Development of American Indian Music 5 Traditional Music 5‐6 Developments by Genre 7‐12 Contemporary American Indian Music Web Resource List 13‐14 Contemporary Popular Musicians with Indian Ancestry 15 American Indian Musicians in Montana 16‐19 Montana Indian Music Hall of Fame 20 Native American Music Awards 21 American Indian Music and General Web Resources 22 Select Bibliography 23 Acknowledgments 22 About the Author 22 Appendix 25 Lesson Plan 1 25‐27 Lesson Plan 2 28‐30 Introduction The goal of American Indian Music: Even More Than Drums and Flutes is to assist Montana teachers in incorporating an appreciation for Indian music into school music and social studies curricula to meet Indian Education for All criteria. There is often confusion regarding terminology related to the study of the history and culture of the indigenous people of the North American continent. For the purposes of this handbook, the term “Native American” refers to the original human inhabitants (and their descendants) of this continent at the time of first recorded European contact (1492), including the contiguous United States, Alaska, Hawaii, Canada, Central America, and the Caribbean Islands. The term “American Indian” (or “Indian”) will refer primarily to the original inhabitants of the contiguous United States.
    [Show full text]
  • KLOS Sept. 9Th 2012
    1 PLAYLIST SEPT. #9 #9 #9 2012 9AM 1 2 The Beatles - Words Of Love - Beatles For Sale (Holly) Lead vocal: John and Paul The Beatles idolized Buddy Holly and performed his songs regularly as part of their club act. So it is a little surprising that “Words of Love” is the only Buddy Holly song the band officially recorded. John and Paul took extra care to make sure their harmonies were perfect, likewise George, in reverence to the material, double-tracked his careful guitar work. This recording was special to the Beatles, and it shows. Recorded on October 18, 1964 in three takes. On U.S. album: Beatles VI - Capitol LP 2 3 The Beatles - You’ve Got To Hide Your Love Away - Help! (Lennon-McCartney) Lead vocal: John Recorded in less than two hours on February 18, 1965. Written entirely by John Lennon, who freely admitted the obvious Bob Dylan influence. Lennon wrote this at Kenwood, his home on the St. George’s Hill estate in Weybridge, Surrey (where the Beatles would be photographed for the cover of their “Rubber Soul” album). John’s original lyric was “I can’t go on feeling two foot tall,” but when singing it for Paul the first time he accidentally said, two foot “small.” Lennon then laughed and said, “Let’s leave it … all those pseudes will really love it.” The first of their songs since “Love Me Do” in 1962 to feature an outside musician. Johnnie Scott provides the flute solo at the end of the song, though he is not credited on the album jacket.
    [Show full text]
  • 1970-05-23 Milwaukee Radio and Music Scene Page 30
    °c Z MAY 23, 1970 $1.00 aQ v N SEVENTY -SIXTH YEAR 3 76 D Z flirt s, The International Music-Record-Tape Newsweekly COIN MACHINE O r PAGES 43 TO 46 Youth Unrest Cuts SPOTLIGHT ON MCA -Decca in Disk Sales, Dates 2 -Coast Thrust By BOB GLASSENBERG NEW YORK - The MCA - Decca was already well- estab- NEW YORK -Many campus at Pop -I's Record Room. "The Decca Records complex will be lished in Nashville. record stores and campus pro- strike has definitely affected our established as a two -Coast corn- In line with this theory, Kapp moters Records is being moved to the across the country are sales. Most of the students have pany, Mike Maitland, MCA Rec- losing sales and revenue because gone to the demonstrations in West Coast as of May 15. Sev- of student political activity. "The the city and don't have new ords president, said last week. eral employees have been students are concerned with records on their minds at the "There are no home bases any- shifted from Kapp's New York other things at the moment," moment. They are deeply moved more for the progressive record operation into the Decca fold according to the manager of the (Continued on page 40) company." He pointed out that and Decca will continue to be a Harvard Co -op record depart- New York -focused firm. The ment in Cambridge, Mass. The shift of Kapp to Los Angeles is record department does much a "rather modest change," business with students in the FCC Probing New Payola Issues Maitland said, as part of the Boston area.
    [Show full text]