DOCSLIB.ORG

Bingo * 1 0 0 , 0

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bingo * 1 0 0 , 0 The Prince George Citizen — Monday, June 23, 1986 — 23 THE FAR SIDE By GARY LARSON AT LEAST WE GOT SHOES, Southside Johnny & Elektra Records has big plans for this California the Jukes, Mirage/Atlantic.- Three and a half stars. band, and, on one level, it’s easy to see why — six R E C O R D S from This album marks a return to form for Southside beefy guys, four of whom play guitar; a strong vid­ Johnny Lyon and his Jukes. After years of record­eo image (they all dress in “wild west” outfits). ing second-rate songs and going along with produc­Unfortunately, the music is hardly as memorable ers’ awkward attempts to modernize his sound, as the packaging. Part country, part rock, the Lyon has made an LP of straightforward, soulful, Unforgiven’s music is not as melodic as the best horn-driven R&B. His singing is passionate country-rock, nor as powerful as the best rock & by DAVE MARSH throughout, and the material — a mix of originals roll. In fact, the wattage level is suprisingly low for SO, Peter Gabriel, Geffen. Four stars. and well-chown covers, like the Left Banke’s Walk a band with so many guitarists. And then there are This is the kind of album that could elevate Peter Away Renee and Dusty Springfield’s I Only Want the songs, all of which seem to have resulted from Gabriel from cult status to the top of the charts. to Be With You — is the strongest he’s had since watching too many westerns: Hang ‘Em High, Long one of rock’s most consistent innovators,1978’s Ga­ “Hearts of Stone.” Cheyenne, and, in a slight twist, All Is Quiet on the briel has already scored what seems to be the LP’s Western Front. Listening to them, one hopes these first hit; Sledgehammer is an R&B-flavored rocker INSIDE OUT, Philip Bailey, Columbia. Three and a guys aren't serious — but I’m afraid they are. that wouldn’t seem out of place on an album halfby stars. Phil Collins, Gabriel’s successor as lead vocalist Though there aren’t any songs here with the TOPSY TURVY, Young Fresh Fellows, Park Are- for the British band Genesis. But Gabriel has hanl- immediate across-the-board appeal of Easy Love,nue Records — Three stars. ly sacrificed his muse to the gods of commercial Philip Bailey’s 1985 hit duet with Phil Collins, this The temptation is to dismiss the Seattle band as success. Working with a wide assortment of music­is still a superb pop-soul LP. Collins shows up oncenothing more than a bunch of jokestera — the ians and relying heavily on synthetic instruments, again, but as a drummer and songwriter, not as a name, the album title, the ads on the back of the Gabriel has made an LP of beautiful, atmospheric vocalist. Jeff Beck and Ray Parker Jr. also makeLP for groups like the Lawn Mowers (I Fought the music that nonetheless manages to avoid all theguest appearances, but Bailey’s main collaborator Lawn). And, indeed, these guys can be quite flinny: cliches of techno-pop. Red Rain, the opening track, this time out is Nile Rodgers, who produced theSearchin’ U.S.A. is a cute country-rock number and sets the tone for the LP, much of which is about in­album, contributed several songs and played bass,a witty take-off on the Beach boys’ Surfin' U.S.A. ner conflict and strife, and Kate Bush turns in an guitar and keyboards. The result is an LP that and Hang Out Right is a terrific parody of late-Six- other-worldly vocal performance on Don’t Givemixes Up, the funky horn approach of Bailey’s musicalties Dylan. But the Young Fresh Fellows also know a song with an almost lullaby-like feel. In Bigalma mater, Earth Wind and Fire, with the more how to write catchy pop melodies, and they can Time, another up-tempo number, Garbiel takes a guitar-oriented approach of Rogers’ previous band,play as hard and fast as just about any punk outfit. look at the problems of pop stardom — something Chic. In the end, that makes for a pretty attractive com- that may come in handy if this LP lives up to theTHE UNFORGIVEN, Elektra. Two and a half bination. (Available from Park Avenue Records, heard that, Simmons! I’m a wimp, am I?... Well, industry’s expectations. stars. P.O. Box 19479, Seattle, WA 98109. to heck with you - to heck with all of you!” gallery official would quit with a smile byARNOLD OLSON followed. Meanwhile, Morrison andcontemporary ideas and concepts, “It really spur’s on the local art,” Staff reporter her staff will begin planning 1987 she explaiped. she said. Gabriella Morrison sees her job programs, aiming at a balance of “That’s my pet project.” She said the continuing duty she as co-ordinator of the Prince shows. She said local artists might be and the gallery society nave is to George Art Gallery as a transition­ She said this area’s artists and independently developing ideas butsell the concept that a public gal­ al role until the gallery’s financial the public should have a good if they discover other artists arelery within Prince George is neces­ standing is more secure. exchange of “80s work.” Local matchingart­ them, ahead of them or sary. Appointed last month, she has ta­ ists, being so far from the main­ even following, it will give encour­“It’s going to take time to estab­ ken over the job filled since last stream of art, need an infusion ofagement and impetus. lish that.” summer by Rosemary Currie after director Mimi Gely left. SPIRIT Because of financial problems the gallery faced over the past PARTNERS couple of years, the gallery society chose to appoint another co-ordina- IN THE tor rather than hire another direc­ tor. “In order to hire a director with PEOPLE BUSINESS the kind of qualifications that they need, the salary would have to be much higher,” she said. However, as co-ordinator she must do many of the jobs expected in the higher-paid position. Morrison, a high school teacher for 13 years, has a diploma in art arid has had a deep interest in art for years. For the past several Its ric h e r! It's b e t t e r ! years she has served as a volun­ teer for the gallery. However, she admits she has no direct experience in operating a gallery. i see myself as an interim step, while the city grows and the Prince George Art Gallery be­ comes more secure.” She said the gallery has gone Gabriella Morrison has fun with art, as she seems to take a teacup beyond the time when it can sup­from a Deborah Stacey painting. Citizen photo by Lisa Murdoch port itself from commissions by selling artists’ work. Before Provincial Secretary She says the gallery must pres­ This year’s projected budget is Grace McCarthy instituted the cur­ ent, “not just regional or local about $73,000, if planned fund-rais­ rent strict regulations on gam­ (art), but we must find all possible ing projects are successful, she bling, holding a casino night was ways and means of having a bal­ said. an option. ance. At best, past art sales commis­ Regardless of the financial pres­ “We’re trying not to cut our* 1 0 0 , 0 0 0 sions brought in less than 20 per sures on the gallery, “We still nave shows — our exhibition budget. cent of that. As well, being a com­to try,” she said. We’re trying to trim in other mercial gallery precludes it from Also, Morrison said, the gallery areas. getting various government grants.must continue to look beyond this“You can’t cut the product. As it is now, the B.C. cultural region’s borders for shows present­That’s what we see as our main grant, alone, is $13,000 and other 1 0 0 , 0 0 0 grants, such as to defer shipping ing a broad spectrum of art — both service to the community.” * costs for shows, are still available.methods of tne past and examples For the balance of this year, pro­ “Shipping is a huge cost for us,of contemporary work. grams established earlier will be because ot our geographic loca­ tion.” She said the only recourse now is to have “more intensive fund rais­ ing” by holding more money-mak­ ing events and to press for in­ creased membership. In the past year 100 new members were at­ tracted, bringing in an extra $1,000. _________ /J Judy Russell's__________ S A tf ^ ROBERTO DE CLARA Music Director Presents J o in Us Song and Dance It's a season o f special m usical m om ents and The Songsby lecio superb entertainm ent w ith the The Doneesby Vortex P rince G eorge Sym phony. Modern Music ond Donee O ur 1986-87 Season has Som ething special H New Experience in Entertainment fo r everyone. Subscribe now fo r Wednesday and Thursday, June 25th & 26th — 8:30 P.M 50% Savings. Ask about o u r Prince George Playhouse new Fam ily P lan. TICK6TS Special Discount Rates In Effect Till June 30tb 17 00 • Adults, S500 • under 12 For complete ittformation call 562-0800 Tickets available NOUJ, Hours Noon to 5:30 p.m. at 0 1 OO 4th (Queensuuoy €ntronce) Three big reasons to play 563-2902 PRINCE GEORGE AND DISTRICT WHEELCHAIR SPORTS LOT.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Grateful Dead
    STORIES STORIES UNTOLD—The Very Best of Stories They had a #1 hit and one of the most enduring (and controversial) hits of the ‘70s in “Brother Louie”—the groundbreaking song about an interracial love affair recently heard (in a re-recorded version) as the theme song of SELLING POINTS: Louis C.K.’s hit TV series Louie—but Stories have never had any kind of collection devoted to their work. One reason for that might be that the • Led by Ian Lloyd and Michael Brown band had two distinct eras: the first two albums with Ian Lloyd and the (Formerly of the Left Banke), Stories Left Banke’s Michael Brown as co-leaders of the band, and the third and Released Three Excellent Albums and final album with Lloyd as the sole frontman. Which we have kept in mind Scored Five Chart Hits During the ‘70s in putting together in this compilation, which features four single sides Including the #1 Hit “Brother Louie” that have never been on CD. Stories Untold starts with the “Two by • Stories Untold Is the First-Ever Compilation Two (I’m Losing You)”/”Love Songs in the Night” single taken from the of Their Work Ultra Violet’s Hot Parts soundtrack that was purportedly recorded by the Left Banke but was credited to Steve Martin, who was a founding member of that group along with Brown. We also include • Includes 19 Tracks Taken from Three the solo singles that Brown and Lloyd released on the Kama Sutra and Scotti Bros. labels, respectively. But Albums and Hit Singles Plus Solo Work by at the heart of the collection are the songs the band released as Stories and Ian Lloyd & Stories—the original Lloyd and Brown hit single versions of “Brother Louie,” “I’m Coming Home,” “Darling,” “Mammy Blue” and “If It Feels Good, Do • Features Four Single Sides Making Their It,” plus key album tracks, all remastered at Sony’s Battery Studios in New York.
    [Show full text]
  • In BLACK CLOCK, Alaska Quarterly Review, the Rattling Wall and Trop, and She Is Co-Organizer of the Griffith Park Storytelling Series
    BLACK CLOCK no. 20 SPRING/SUMMER 2015 2 EDITOR Steve Erickson SENIOR EDITOR Bruce Bauman MANAGING EDITOR Orli Low ASSISTANT MANAGING EDITOR Joe Milazzo PRODUCTION EDITOR Anne-Marie Kinney POETRY EDITOR Arielle Greenberg SENIOR ASSOCIATE EDITOR Emma Kemp ASSOCIATE EDITORS Lauren Artiles • Anna Cruze • Regine Darius • Mychal Schillaci • T.M. Semrad EDITORIAL ASSISTANTS Quinn Gancedo • Jonathan Goodnick • Lauren Schmidt Jasmine Stein • Daniel Warren • Jacqueline Young COMMUNICATIONS EDITOR Chrysanthe Tan SUBMISSIONS COORDINATOR Adriana Widdoes ROVING GENIUSES AND EDITORS-AT-LARGE Anthony Miller • Dwayne Moser • David L. Ulin ART DIRECTOR Ophelia Chong COVER PHOTO Tom Martinelli AD DIRECTOR Patrick Benjamin GUIDING LIGHT AND VISIONARY Gail Swanlund FOUNDING FATHER Jon Wagner Black Clock © 2015 California Institute of the Arts Black Clock: ISBN: 978-0-9836625-8-7 Black Clock is published semi-annually under cover of night by the MFA Creative Writing Program at the California Institute of the Arts, 24700 McBean Parkway, Valencia CA 91355 THANK YOU TO THE ROSENTHAL FAMILY FOUNDATION FOR ITS GENEROUS SUPPORT Issues can be purchased at blackclock.org Editorial email: [email protected] Distributed through Ingram, Ingram International, Bertrams, Gardners and Trust Media. Printed by Lightning Source 3 Norman Dubie The Doorbell as Fiction Howard Hampton Field Trips to Mars (Psychedelic Flashbacks, With Scones and Jam) Jon Savage The Third Eye Jerry Burgan with Alan Rifkin Wounds to Bind Kyra Simone Photo Album Ann Powers The Sound of Free Love Claire
    [Show full text]
  • Nile Rodgers in New York City, 1991
    Nile Rodgers in New York City, 1991 68 MUSICAL EXCELLENCE Nile Rodgers HE CREATES A DISTINCTIVE SOUND ON THE RECORDS HE WRITES, PRODUCES, ARRANGES, AND PLAYS ON. BY ROB BOWMAN Nile Rodgers’ influence on popular music over the past forty years is nearly unfathomable. As a guitarist, songwriter, producer, arranger, and funkster extraordinaire, Rodgers has left his imprint on a stun- ningly wide array of genres including disco, R&B, rock, mainstream pop, hip-hop, and EDM. Looking over the breadth of his career, a case could easily be made that no single individual has had a greater impact on the sound of pop, from the late 1970s to the present day. ¶ Alongside his partner, bass player wunderkind Bernard Edwards, Rodgers wrote and produced hit after hit for Chic, Sister Sledge, and Diana Ross, tearing up both the dance floor and the radio. After Chic broke up and Rodgers and Edwards went their separate ways, Rodgers broke free of the disco moniker and reinvented himself, producing, arranging, and playing guitar on David Bowie’s come- back album, Let’s Dance (1983), and Madonna’s breakout album, 69 Like a Virgin (1984). Along the way he took INXS and Chic in their prime then Duran Duran to new heights with “Original Sin” with Rodgers and and “The Reflex,” respectively, and produced albums by Bernard Edwards Mick Jagger, Jeff Beck, the B-52s, and David Lee Roth. center stage, 1979 He played key guitar parts on Steve Winwood’s “High- er Love” and Michael Jackson’s HIStory. More recent- ly he cowrote and played guitar on Daft Punk’s “Get Lucky,” winning two Grammy Awards in the process.
    [Show full text]
  • February 12, 2019: SXSW Announces Additional Keynotes and Featured
    SOUTH BY SOUTHWEST ANNOUNCES ADDITIONAL KEYNOTES AND FEATURED SPEAKERS FOR 2019 CONFERENCE Adam Horovitz and Michael Diamond of Beastie Boys, John Boehner, Kara Swisher, Roger McNamee, and T Bone Burnett Added to the Keynote Lineup Stacey Abrams, David Byrne, Elizabeth Banks, Aidy Bryant, Brandi Carlile, Ethan Hawke, Padma Lakshmi, Kevin Reilly, Nile Rodgers, Cameron and Tyler Winklevoss, and More Added as Featured Speakers Austin, Texas — February 12, 2019 — South by Southwest® (SXSW®) Conference and ​ ​ Festivals (March 8–17, 2019) has announced further additions to their Keynote and Featured Speaker lineup for the 2019 event. Keynotes announced today include former Speaker of the U.S. House of Representatives John Boehner with Acreage Holdings Chairman and CEO ​ ​ Kevin Murphy; a Keynote Conversation with Adam Horovitz and Michael Diamond of Beastie ​ ​ ​ ​ ​ Boys with Amazon Music’s Nathan Brackett; award-winning producer, musician and songwriter ​ ​ T Bone Burnett; investor and author Roger McNamee with WIRED Editor in Chief Nicholas ​ ​ ​ ​ ​ ​ Thompson; and Recode co-founder and editor-at-large​ Kara Swisher with a special guest. ​ ​ ​ ​ ​ ​ Among the Featured Speakers revealed today are national political trailblazer Stacey Abrams, ​ ​ multi-faceted artist David Byrne; actress, producer and director Elizabeth Banks; actress, ​ ​ ​ ​ writer and producer Aidy Bryant; Grammy Award-winning musician Brandi Carlile joining a ​ ​ ​ ​ conversation with award-winning actress Elisabeth Moss; professional wrestler Charlotte Flair; ​ ​ ​
    [Show full text]
  • Tone Template For: Nile Rodgers (Chic) Le Freak
    Tone Template for: Nile Rodgers (Chic) Le Freak Instrument: Fender® Strat® Variax Setting: Spank 2 Tuning: Standard: E-A-D-G-B-E Sound Console splitter Compressor! Fender® combo! All product names used hereon are trademarks of their respec4ve owners, which are in no way associated or affiliated with Line 6. Fender and Strat are registered trademarks of Fender Musical Instruments Corp Tone Template for: Lynyrd Skynyrd Sweet Home Alabama Ed King Allen Collins Gary Rossington Original Guitar: Fender® Strat® Original Guitar: Gibson Firebird® Original Guitar: Gibson® Les Paul® Variax Setting: Spank 1 Variax Setting: Lester 1 Variax Setting: Lester 1 Tuning: Standard: E-A-D-G-B-E Tuning: Standard: E-A-D-G-B-E Tuning: Standard: E-A-D-G-B-E Plexi 45 Plexi 45 Marshall® model 1987! Marshall® head! Fender® Twin®! Marshall® 412 cabinet! Marshall® 412 cabinet! All product names used hereon are trademarks of their respec4ve owners, which are in no way associated or affiliated with Line 6. Fender, Strat and Twin are registered trademarks of Fender Musical Instruments Corporaon. Gibson, Gibson Firebird and Les Paul are registered trademarks of Gibson Guitar Corp. Marshall is a registered trademark of Marshall Amplificaon Plc. Tone Template for: Stevie Ray Vaughan Texas Flood Instrument: Pre-CBS Fender® Strat® Tuning: 1/2 step down: Eb-Ab-Db-Gb-Bb-Eb Super Lead 100 Vox®! Ibanez® ! Fender®! Dumbleland Special! Tube Screamer®! Vibroverb! Dumble® 412 cab! EV® Speakers ! All product names used hereon are trademarks of their respec4ve owners, which are in no way associated or affiliated with Line 6.
    [Show full text]
  • For Immediate Release We Are Family Foundation® To
    FOR IMMEDIATE RELEASE WE ARE FAMILY FOUNDATION® TO HONOR DOLLY PARTON AND JEAN PAUL GAULTIER AT 2019 CELEBRATION New York, NY (September 9, 2019) – We Are Family FouNdatioN® (WAFF) will honor legendary artist Dolly Parton and iconic fashion designer Jean Paul Gaultier at its 2019 Celebration on Tuesday, November 5, 2019 at the Hammerstein Ballroom in New York City. WAFF, a not-for-profit organization founded by legendary multiple GRAMMY® Award winning musician Nile Rodgers, is dedicated to the vision of a global family. WAFF creates and supports programs that promote cultural diversity while nurturing the vision, talents and ideas of young people who are positively changing the world. “We’ve wanted to recognize and honor the extraordinary accomplishments of Dolly Parton for many years. Her exemplary work as an artist, businesswoman and philanthropist is an example for us all. She symbolizes everything that is great about music and America. Jean Paul Gaultier is someone who I’m happy to call a friend. His incomparable work as an iconic fashion designer and forward thinker has changed our culture in a way the world has greatly benefitted from. We are enormously grateful to our honorees for their exceptional work to improve humanity and we warmly welcome them into our WAFF family”, said Rodgers. Dolly Parton, legendary singer, songwriter, multi-instrumentalist, record producer, actress, author, businesswoman and humanitarian will receive the Mattie J.T. StepaNek Peacemaker Award. Over the years, Parton has supported many charitable efforts, particularly in the area of literacy, primarily through the Dollywood Foundation. Her literacy program, Dolly Parton's Imagination Library, a part of the Dollywood Foundation, mails one book per month to each enrolled child from the time of their birth until they enter kindergarten.
    [Show full text]
  • Pressuring of Agnew Denied He Had "Expressed Opinion" on Conn PIRG to the TAFS Committee
    Okmwrttritt iatUj damjroa Serving Storrs Since 1896 VOL. LXXI NO. 9 STORRS. CONNECTICUT Thursday, September 20, 1973 PIRG seeking alternate means for funding aid By MARK FRANKLIN The Connecticut Pulbic Interest Research Group (Conn PIRG) and the Board of Trustees have been unable to agree on a method for funding the Conn PIRG organization. Bart Russell, a member of the Conn PIRG board of directors, said his organization was trying to determine another funding method. The Board of Turstees rejected the Trustee Administration Faculty Student (TAFS) Committee proposal over the summer when they learned the TAFS proposal was unacceptable to Conn PIRG. Had the TAFS proposal been adopted, a card would have been sent to students with their fee bill. If students wished to support Conn PIRG, they could have sent the necessary two dollars with the card. Russell termed the TAFS proposal "unacceptable." The original Conn PIRG fee proposed a mandatory two dollar per semester fee which could have been Guitarist Leo Kottke tunes up his instrument during last night's free concert at Jorgensen auditorium. See story (Photo by Alan Decker). page 6. refunded at a student's request. Russell accused John J. Manning Jr., associate dean for student affairs, of influencing the TAFS proposal. Manning said Wednesday evening that he had "serious reservations" about the original Conn PIRG proposal. He said Pressuring of Agnew denied he had "expressed opinion" on Conn PIRG to the TAFS Committee. WASHINGTON (UPI) - A Warren said, "we feel it is Referring specifically to a Russell said there was spokesman for President Nixon denied inappropriate for the White House to Washington Post story Tuesday quoting "backstabbing" in the meetings which Wednesday that anyone at the White comment or accept questions - the a senior Republican as being "99'/s per drafted the TAFS proposal, ftg said House is trying to pressure Vice answers to which would pass judgment cent certain" Agnew would resign, the there were no student members of the President Spiro T.
    [Show full text]
  • Mto.04.10.4.W Everet
    Volume 10, Number 4, December 2004 Copyright © 2004 Society for Music Theory Walter Everett KEYWORDS: rock music, tonality, harmony, voice leading, Schenkerian analysis, modal theory, blues, popular music, Beck ABSTRACT: Despite frequently voiced assertions and their underlying presumptions, there is no single sort of tonal behavior common to all rock music, but rather a spectrum of approaches to scales, harmonic function and voice leading. This essay addresses the issue from two perspectives. The first suggests an array of six tonal systems ranging from the traditional major mode through modal (including minor-pentatonic) practices having increasing structural value, to chromatic relations with little basis in any deeper diatony. The second perspective studies the varied degrees of interaction between harmony and voice leading evidenced in samples of rock music from two historically opposed timeframes, the more homogeneous span of 1957–58 and the more radically experimental period of 1999–2000. Finally, Beck’s “Lonesome Tears” (2003) serves as a model for an analytical approach to one iconoclastic combination of voice leading and harmony. Received October 2004 [1] In its history now spanning half a century, rock music has found expression in dozens of styles and sub-styles, each characterized in part—sometimes in large part—by its own approach to a preexisting tonal system, or sometimes by its unveiling of a seemingly novel tonal system.(1) Of course there are many other musical and poetic traits of importance in marking style distinctions (including rhythm at surface, phrase, and sectional levels, tone color, performance practices such as phrasing, articulation, and dynamics, and recording techniques), but in this essay we will focus solely on matters of tonal structure, in hopes of addressing in a brief space an underlying context for the wide variety of systems that exist.
    [Show full text]
  • Pirates' $10 Million Haul U
    JEMPHISir A BILLBOARD SPOTLIGHT r-r^'TTR c `r SECTION COIN MACHINE MARCH 29, 1969 $1.00 PAGES TWO SECTIONS SECTION I 49 TO 54 The A/o r'3 International Music -Record Newsweekly GRT in 1 -Fold Pirates' $10 Million Haul U. S. Car Mart By BRUCE WEBER LOS ANGELES Contract With - Music sales manager of Robbins, Feist, strument representatives for publishers are losing more than Miller. counterfeit product. Breakthrough $10 million a year to illegal The forged music "The worst offenders book and books, often are or- sheet music counter- peddled by traveling gan teachers, professional feiters. salesmen mu- Gamble & Huff or sold under-the-counter at mu- sic studios and musical instru- "Sheet and book music pi- For sic stores, sell in a loose-leaf ment jobbers," said Steiger. "We Cassettes By rates have been active MIKE GROSS for 30 binder for $15-$25 for 1,000 (The Big Three) prosecute every years because copyright laws By HANK FOX are songs, most of which are case our investigators NEW YORK GRT fur- not severe incom- uncover." - enough to halt the plete. The Big The Big ther solidified its foothold in the Three, which pub- Three sells product NEW YORK-The cassette practice," said Herman Steiger, lishes about (Continued recording field by wrapping up 52 hardbound folios on page 15) system will establish a beach- a year, sells its head in a deal with independent pro- books for $1.50- the U. S. automobile $3.95 for 15 IIII I IIII I Ildl I I I IIIIII1mINIIIIIIIII market this to IIIII I I I I I I I I I I 30 I summer when ducers Gamble and Huff that complete III I11111111IIIIIIIIIIOIIIIII111 Mer- songs.
    [Show full text]
  • Recorded Jazz in the 20Th Century
    Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
    [Show full text]
  • Billboard Magazine
    MUSIC WorldMags.net Reviews Coldplay romantic feelings, with “Atlas” (3:56) SINGLES the newbie singer/ songwriter pairing vers- PRODUCERS: Coldplay, Daniel Green, Rik Simpson ROCK es with Brown. The two strike a kinetic balance WRITER: Coldplay ARCADE FIRE “Reflektor” (7:42) on “It Won’t Stop” by PUBLISHER: Universal Music gracefully wooing each Publishing PRODUCERS: Markus Dravs, James Murphy, Arcade Fire other atop the rhythmic LABEL: Parlophone/Republic production, which ben- WRITER: Arcade Fire efts from Diplo’s role as PUBLISHER: EMI Music Publishing a co-producer. —KI LABEL: Merge Generation Y’s most be- INDIE loved rock band is back, CUT COPY and is more concerned “Free Your Mind” (5:15) about the heavens and PRODUCER: Dan Whitford world-saving love than WRITERS: Dan Whitford, Tim writing a four-minute Hoey, Mitchell Scott, Ben song that easily fts into Browning radio formats. An elec- PUBLISHER: Kobalt Music tronic underbelly (cour- LABEL: Loma Vista/Modular tesy of James Murphy) Cut Copy often revels propels “Refektor,” but in odd sonic juxtapo- the group’s guitar bom- sitions like blending bast is left to dominate ’80s synth-pop with ROCK the track’s outer layers, futuristic psychedelia. which it does extraordi- New single “Free Your narily well. —cP Mind,” however, is Coldplay Opens Up On ‘Atlas’ more immediate and DANCE/ELECTRONIC less impressionistic: DAFT PUNK FEATURING Over disco bass, congas Coldplay’s first song written specifically for a film handed the somber torch. “Caught in the fire, say PHARRELL WILLIAMS and sampled yelps, Dan _ soundtrack, “Atlas,” from forthcoming “The Hun- oh, we’re about to explode,” the singer coos as the “lose Yourself to Dance” Whitford sings, “You ger Games: Catching Fire,” marks a throwback in beat drops in at the 1:05 mark.
    [Show full text]