Look Ka Py Py the Meters CD: Look-Ka Py Py

Total Page：16

File Type：pdf, Size：1020Kb

Look Ka Py Py The Meters CD: Look-Ka Py Py Instrumental George Porter, Jr. Live in Studio Cissy Strut The Meters CD: The Meters Fire on the Bayou The Meters CD: Fire On the Bayou Here Comes the Meterman The Meters CD: The Meters Hey Pocky Way The Meters Youtube -- Live, Saenger Theater 1980 Working in a Coalmine Lee Dorsey CD: Lee Dorsey Selected Hits Sneakin' Sally Through the Alley Robert Palmer CD: Sneakin' Sally Through the Alley Lady Marmalade Labelle CD: Nightbirds Chicken Strut The Meters CD: Struttin' Funksomethingness George Porter, Jr. and the Runnin' Pardners CD: George Porter, Jr. and the Runnin' Pardners on a Sea Cruise Youtube -- Live Something You Got Chris Kenner CD: The Cosimo Matassa Story, Vol. 2 Kiko Jimmy McGriff CD: The Best of the Sue Years 1962-65 There's No Greater Love Gene Simmons and Sonny Stitt CD: Boss Tenors: Straight Ahead from Chicago 1961 They All Say I'm the Biggest Fool Stanley Turrentine CD: Ballads Nice Very Nice George Porter, Jr. and the Runnin' Pardners EP: It's Time to Funk Rigor Mortis The Meters CD: Look-Ka Py Py Just Kissed My Baby The Meters CD: Rejuvenation Borro The Meters Look-Ka Py Py Careful Who You Idolize George Porter, Jr. and the Runnin' Pardners EP: It's Time to Funk Talkin' Bout My Old Friends George Porter, Jr. and the Runnin' Pardners CD: It's Time to Funk Baby Please Snooks Eaglin and George Porter, Jr. Live -- Youtube Come On (Parts I and II) Earl King CD: Come On: The Complete Imperial Recordings Here But I'm Gone George Porter, Jr. CD: It's Life I Get High George Porter, Jr. CD: It's Life A Mother's Arms George Porter, Jr. CD: Christmas in New Orleans: A Tribute to My Mother Liver Splash George Porter, Jr. and the Runnin' Pardners CD: Can't Beat the Funk! .

Copy Link

Recommended publications

Love, Oh Love, Oh Careless Love
Love, Oh Love, Oh Careless Love Careless Love is perhaps the most enduring of traditional folk songs. Of obscure origins, the song’s message is that “careless love” could care less who it hurts in the process. Although the lyrics have changed from version to version, the words usually speak of the pain and heartbreak brought on by love that can take one totally by surprise. And then things go terribly wrong. In many instances, the song’s narrator threatens to kill his or her errant lover. “Love is messy like a po-boy – leaving you drippin’ in debris.” Now, this concept of love is not the sentiment of this author, but, for some, love does not always go right. Countless artists have recorded Careless Love. Rare photo of “Buddy” Bolden Lonnie Johnson New Orleans cornetist and early jazz icon Charles Joseph “Buddy” Bolden played this song and made it one of the best known pieces in his band’s repertory in the early 1900s, and it has remained both a jazz standard and blues standard. In fact, it’s a folk, blues, country and jazz song all rolled into one. Bessie Smith, the Empress of the Blues, cut an extraordinary recording of the song in 1925. Lonnie Johnson of New Orleans recorded it in 1928. It is Pete Seeger’s favorite folk song. Careless Love has been recorded by Louis Armstrong, Ray Charles, Bob Dylan and Johnny Cash. Fats Domino recorded his version in 1951. Crescent City jazz clarinetist George Lewis (born Joseph Louis Francois Zenon, 1900 – 1968) played it, as did other New Orleans performers, such as Dr.
[Show full text]
Midnight Special Songlist
west coast music Midnight Special Please find attached the Midnight Special song list for your review. SPECIAL DANCES for Weddings: Please note that we will need your special dance requests, (I.E. First Dance, Father/Daughter Dance, Mother/Son Dance etc) FOUR WEEKS in advance prior to your event so that we can confirm that the band will be able to perform the song(s) and that we are able to locate sheet music. In some cases where sheet music is not available or an arrangement for the full band is need- ed, this gives us the time needed to properly prepare the music and learn the material. Clients are not obligated to send in a list of general song requests. Many of our clients ask that the band just react to whatever their guests are responding to on the dance floor. Our clients that do provide us with song requests do so in varying degrees. Most clients give us a handful of songs they want played and avoided. Recently, we’ve noticed in increase in cli- ents customizing what the band plays and doesn’t play with very specific detail. If you de- sire the highest degree of control (allowing the band to only play within the margin of songs requested), we ask for a minimum of 100 requests. We want you to keep in mind that the band is quite good at reading the room and choosing songs that best connect with your guests. The more specific/selective you are, know that there is greater chance of losing certain song medleys, mashups, or newly released material the band has.
[Show full text]
ENG 350 Summer12
ENG 350: THE HISTORY OF HIP-HOP With your host, Dr. Russell A. Potter, a.k.a. Professa RAp Monday - Thursday, 6:30-8:30, Craig-Lee 252 http://350hiphop.blogspot.com/ In its rise to the top of the American popular music scene, Hip-hop has taken on all comers, and issued beatdown after beatdown. Yet how many of its fans today know the origins of the music? Sure, people might have heard something of Afrika Bambaataa or Grandmaster Flash, but how about the Last Poets or Grandmaster CAZ? For this class, we’ve booked a ride on the wayback machine which will take us all the way back to Hip-hop’s precursors, including the Blues, Calypso, Ska, and West African griots. From there, we’ll trace its roots and routes through the ‘parties in the park’ in the late 1970’s, the emergence of political Hip-hop with Public Enemy and KRS-One, the turn towards “gangsta” style in the 1990’s, and on into the current pantheon of rappers. Along the way, we’ll take a closer look at the essential elements of Hip-hop culture, including Breaking (breakdancing), Writing (graffiti), and Rapping, with a special look at the past and future of turntablism and digital sampling. Our two required textbook are Bradley and DuBois’s Anthology of Rap (Yale University Press) and Neal and Forman’s That's the Joint: The Hip-Hop Studies Reader are both available at the RIC campus store. Films shown in part or in whole will include Bamboozled, Style Wars, The Freshest Kids: A History of the B-Boy, Wild Style, and Zebrahead; there will is also a course blog with a discussion board and a wide array of links to audio and text resources at http://350hiphop.blogspot.com/ WRITTEN WORK: An informal response to our readings and listenings is due each week on the blog.
[Show full text]
Dennis Chambers
IMPROVE YOUR ACCURACY AND INDEPENDENCE! THE WORLD’S #1 DRUM MAGAZINE FUSION LEGEND DENNIS CHAMBERS SHAKIRA’S BRENDAN BUCKLEY WIN A $4,900 PEARL MIMIC BLONDIE’S PRO E-KIT! CLEM BURKE + DW ALMOND SNARE & MARCH 2019 GRETSCH MICRO KIT REVIEWED NIGHT VERSES’ ARIC IMPROTA FISHBONE’S PHILIP “FISH” FISHER THE ORIGINAL. ONLY BETTER. The 5000AH4 combines an old school chain-and-sprocket drive system and vintage-style footboard with modern functionality. Sought-after DW feel, reliability and playability. The original just got better. www.dwdrums.com PEDALS AND ©2019 Drum Workshop, Inc. All Rights Reserved. HARDWARE 12 Modern Drummer June 2014 LAYER » EXPAND » ENHANCE HYBRID DRUMMING ARTISTS BILLY COBHAM BRENDAN BUCKLEY THOMAS LANG VINNIE COLAIUTA TONY ROYSTER, JR. JIM KELTNER (INDEPENDENT) (SHAKIRA, TEGAN & SARA) (INDEPENDENT) (INDEPENDENT) (INDEPENDENT) (STUDIO LEGEND) CHARLIE BENANTE KEVIN HASKINS MIKE PHILLIPS SAM PRICE RICH REDMOND KAZ RODRIGUEZ (ANTHRAX) (POPTONE, BAUHAUS) (JANELLE MONÁE) (LOVELYTHEBAND) (JASON ALDEAN) (JOSH GROBAN) DIRK VERBEUREN BEN BARTER MATT JOHNSON ASHTON IRWIN CHAD WACKERMAN JIM RILEY (MEGADETH) (LORDE) (ST. VINCENT) (5 SECONDS OF SUMMER) (FRANK ZAPPA, JAMES TAYLOR) (RASCAL FLATTS) PICTURED HYBRID PRODUCTS (L TO R): SPD-30 OCTAPAD, TM-6 PRO TRIGGER MODULE, SPD::ONE KICK, SPD::ONE ELECTRO, BT-1 BAR TRIGGER PAD, RT-30HR DUAL TRIGGER, RT-30H SINGLE TRIGGER (X3), RT-30K KICK TRIGGER, KT-10 KICK PEDAL TRIGGER, PDX-8 TRIGGER PAD (X2), SPD-SX-SE SAMPLING PAD Visit Roland.com for more info about Hybrid Drumming. Less is More Built for the gigging drummer, the sturdy aluminum construction is up to 34% lighter than conventional hardware packs.
[Show full text]
2009/07/04 How Can I Miss You When You Won't Go Away?
2009/07/04 How Can I Miss You When You Won't Go Away? / Dan Hicks & His Hot Licks The Most of Dan Hicks & His Hot Licks We Can Be Together / Jefferson Airplane Volunteers Bad Moon Rising / Creedence Clearwater Revival Green River Poor Moon / Canned Heat The Very Best of Canned Heat I Feel So Good (I Wanna Boogie) / Magic Sam Live! at the Ann Arbor Blues Festival (1969) Trouble No More / The Allman Brothers Band The Allman Brothers Band Loan Me A Dime / Boz Scaggs My Time: A Boz Scaggs Anthology (1969-1997) What Does It Take (To Win Your Love)? / Jr. Walker and the All Stars 19 Greatest Hits I'm Your Puppet / Marvin Gaye & Tammi Terrell Easy Abraham Martin & John / Smokey Robinson & The Miracles Anthology King Harvest (Has Surely Come) / The Band The Band Mama Tried / Grateful Dead Dick's Picks Vol. 16 - 11/8/69 Games People Play / Joe South Best Hits In Japan 1955-1974 - Vol. 8: '69~'70 Rainy Night In Georgia / Brook Benton The Ultimate Soul Collection Girl From The North Country / Bob Dylan & Johnny Cash Nashville Skyline She Came In Through The Bathroom Window / The Beatles Abbey Road Golden Slumbers / The Beatles Abbey Road Carry That Weight / The Beatles Abbey Road The End / The Beatles Abbey Road Delta Lady / Joe Cocker With A Little Help From My Friends~Joe Cocker The Moon / Dollar Brand African Piano 2009/07/11 Johnny Cash / Ry Cooder I, Flathead The Beast In Me / Nick Lowe Quiet Please... The New Best of Nick Lowe Lam Liv (prelude to a separation) / Kong Nay A Cambodian Bard 明日になれば / The Fuji..i Mojoyama Mississippi 踊れ大阪総おどり /
[Show full text]
2)GEORGE PORTER Jr Di Massimo Luna.Pdf
Introduzione: Ci troviamo a 1Vew Orleans tra gli anni 60' e 70'. Un periodo particolarmente fertile e creativo, che favorì la nascita della musica R & B e Funk. E' la New Orleans delle band che nascono dalla strada, dei musicisti che imparano a suonare da qualcuno che sa suonare meglio di loro, conle una sorta di tradizione orale, di insegnamento non scritto e del tutto legato all'esperienza diretta. La sera si va nei locali, si suona, si fanno Jam Sessions, è cosi che nascono le nuove formazioni, i nuovi gruppi. Questa è la realtà in cui vive George Porter Jr.. Lui stesso in un' intervista racconta quanto sia stato importante, anche a livello umano, crescere in quell'ambiente. Tra le esperienze più sigriificative per George c'è sicuramente quella con "the Meters", definil:i una delle più grandi band rock-fusion degli anni 701,con all'attivo 11 dischi in 15 anni circa di attività. Loro sono stati la prima jam band della storia, come dichiara lo stesso George. Andavano sul palco e suonavano partendo da qualcosa di stabilito, per poi virare verso il riff o il carribio che qualche membro del gruppo aveva proposto sul momento.. .un perfetto esempio di interplay! I loro brani presentavano spesso delle parti "open", con dei pedali e con qualche solo di organo. Ai nostri giorni è usuale che rapper ed esponenti della musica hip hop, usino alcuni loro brani come basi per rappare sopra, vista la forte spinta ritmica da cui sono caratterizzati. Biografia: George Porter Jr. nasce nel 1947 a New Orleans Louisiana.
[Show full text]
Selected Discography
479 of 522 selected discography 6932 Lawrence / LOVE SAVES THE DAY / sheet The following discography lists all of the recordings referred to in Love Saves the Day. It provides basic information on the name of the artist, the title of the recording, the name of the label that originally released the recording, and the year in which the recording was first released. Entries are listed in alphabetical order, first according to the name of the artist, and subsequently according to the title of the recording. Albums are highlighted in italics, whereas individual album cuts, seven-inch singles, and twelve-inch singles are written in normal typeface. Abaco Dream. ‘‘Life and Death in G & A.’’ , . Area Code . ‘‘Stone Fox Chase.’’ Polydor, . Ashford & Simpson. ‘‘Found a Cure.’’ Warner Bros., . '.‘‘It Seems to Hang On.’’ Warner Bros., . '. ‘‘Over and Over.’’ Warner Bros., . '. ‘‘Stay Free.’’ Warner Bros., . Atmosfear. ‘‘Dancing in Outer Space.’’ Elite, . Auger, Brian, & the Trinity. ‘‘Listen Here.’’ , . Ayers, Roy, Ubiquity. ‘‘Don’t Stop the Feeling.’’ Polydor, . '. ‘‘Running Away.’’ Polydor, . Babe Ruth. ‘‘The Mexican.’’ Harvest, . Barrabas. Barrabas. , . '. ‘‘Wild Safari.’’ , . '. ‘‘Woman.’’ , . Barrow, Keith. ‘‘Turn Me Up.’’ Columbia, . Bataan, Joe. ‘‘Aftershower Funk.’’ Mericana, . '. ‘‘Latin Strut.’’ Mericana, . '. ‘‘Rap-O Clap-O.’’ Salsoul, . '. Salsoul. Mericana, . Bean, Carl. ‘‘I Was Born This Way.’’ Motown, . Beatles. ‘‘Here Comes the Sun.’’ Apple, . Tseng 2003.10.1 08:35 481 of 522 !. ‘‘It’s Too Funky in Here.’’ Polydor, . !. ‘‘Mother Popcorn (You Got to Have a Mother for Me).’’ King, . Brown, Peter. ‘‘Do Ya Wanna Get Funky With Me.’’ , . !. ‘‘Love in Our Hearts.’’ , . B. T. Express. ‘‘Do It (’Til You’re Satisfied).’’ Scepter, .
[Show full text]
ALBUMS BARRY WHITE, "WHAT AM I GONNA DO with BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50S YOU" (Prod
DEDICATED TO THE NEEDS OF THE MUSIC RECORD INCUSTRY SLEEPERS ALBUMS BARRY WHITE, "WHAT AM I GONNA DO WITH BLUE MAGIC, "LOVE HAS FOUND ITS WAY JOHN LENNON, "ROCK 'N' ROLL." '50s YOU" (prod. by Barry White/Soul TO ME" (prod.by Baker,Harris, and'60schestnutsrevved up with Unitd. & Barry WhiteProd.)(Sa- Young/WMOT Prod. & BobbyEli) '70s savvy!Fast paced pleasers sat- Vette/January, BMI). In advance of (WMOT/Friday'sChild,BMI).The urate the Lennon/Spector produced set, his eagerly awaited fourth album, "Sideshow"men choosean up - which beats with fun fromstartto the White Knight of sensual soul tempo mood from their "Magic of finish. The entire album's boss, with the deliversatasteinsupersingles theBlue" album forarighteous niftiest nuggets being the Chuck Berry - fashion.He'sdoingmoregreat change of pace. Every ounce of their authored "You Can't Catch Me," Lee thingsinthe wake of currenthit bounce is weighted to provide them Dorsey's "Ya Ya" hit and "Be-Bop-A- string. 20th Century 2177. top pop and soul action. Atco 71::14. Lula." Apple SK -3419 (Capitol) (5.98). DIANA ROSS, "SORRY DOESN'T AILWAYS MAKE TAMIKO JONES, "TOUCH ME BABY (REACHING RETURN TO FOREVER FEATURING CHICK 1116111113FOICER IT RIGHT" (prod. by Michael Masser) OUT FOR YOUR LOVE)" (prod. by COREA, "NO MYSTERY." No whodunnits (Jobete,ASCAP;StoneDiamond, TamikoJones) (Bushka, ASCAP). here!This fabulous four man troupe BMI). Lyrical changes on the "Love Super song from JohnnyBristol's further establishes their barrier -break- Story" philosophy,country -tinged debut album helps the Jones gal ingcapabilitiesby transcending the with Masser-Holdridge arrange- to prove her solo power in an un- limitations of categorical classification ments, give Diana her first product deniably hit fashion.
[Show full text]
Lady Marmalade”—Labelle (1974) Added to the National Registry: 2020 Essay by Adele Bertei (Guest Post)*
“Lady Marmalade”—Labelle (1974) Added to the National Registry: 2020 Essay by Adele Bertei (guest post)* Labelle Labelle. Hear the name and most will immediately think of Patti LaBelle, diva supreme, but the story is far more profound than the connection suggests. Over the course of 16 years together, Nona Hendryx, Sarah Dash, and Patti LaBelle created a musical legacy unlike any other group before or since. Patti’s incredible voice led the way, undoubtedly. But it was Sarah Dash’s sweet soaring soprano, the deep resonance of Nona Hendryx’s voice and lyrical imagination, and the utopian vision of manager Vicki Wickham that would ultimately result in the creation of the Labellian cosmology--a map of sonic starlight. In 1962, Patti LaBelle and the Bluebelles were a traditional girl group with a few minor hits. Ten years later, they dropped the girl group tropes and became Labelle, reinventing the role of Black women in popular music as bona fide rock stars in 1974. The torque accelerating their ascendancy was a song called “Lady Marmalade.” Co-written by Bob Crewe and Kenny Nolan, “Lady Marmalade” is the story of a Creole sex worker strutting a solicitation--”Voulez vous coucher avec moi, ce soir?”--a phrase that became a French-language primer for every American in love with pop music. Any record company trepidation about presenting this brazen shout-out for Black women’s sexual agency to the listening world was extinguished by the undeniable brilliance of the recording. The song might not have been written by Labelle, but their delivery made it a worldwide sensation.
[Show full text]
New Orleans Funkin Tyylillisiä Piirteitä Joseph ”Zigaboo” Modelisten Soitossa
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by National Library of Finland DSpace Services NEW ORLEANS FUNKIN TYYLILLISIÄ PIIRTEITÄ JOSEPH ”ZIGABOO” MODELISTEN SOITOSSA Pop/jazzmusiikin koulutusohjelma Opinnäytetyö 20.4.2006 Opiskelijan etunimi sukunimi Kulttuuri- ja palveluala Koulutusohjelma Suuntautumisvaihtoehto Pop/jazzmusiikin koulutusohjelma Pop/jazz –musiikkipedagogi Tekijä Kokkinen Raine Työn nimi NEW ORLEANS FUNKIN TYYLILLISIÄ PIIRTEITÄ JOSEPH ”ZIGABOO” MODELISTEN SOITOSSA Työn laji Aika Sivumäärä Opinnäytetyö Sivumäärä + liitteet TIIVISTELMÄ Tässä opinnäytetyössä tutkimuskohteeksi muodostui The Meters -yhtyeen rumpalin Joseph ”Zigaboo” Modelisten soittotyyli. Tutkimuksen tavoitteena oli analysoida Zigaboon soittotyyliä seuraavista näkökulmista: fraseeraus, synkopointi, claven vaikutus Zigaboon kompeissa ja virvelirummun käyttö. Olen kirjoittanut 8 kpl transkriptioita sellaisista Zigaboon soittamista kompeista, joista tulee selvästi esille New Orleans funkin tyylillisiä piirteitä ja jotka tukevat tutkimukseni tavoitteita. Kappaleiden valintaperusteena oli myös se, että kyseisiä kappaleita ja komppeja on mielestäni erityisen mukavaa soittaa. Ääninäytteet analysoitavista kompeista ovat työn mukana olevalla liiteäänitteellä (salainen). Kerron tutkimuksessani lyhyesti New Orleans funkin historiasta ja siitä, miten eri kulttuurien ja sitä kautta eri musiikkikulttuurien yhteensulautuminen on vaikuttanut New Orleansin rikkaan musiikkikulttuurin muodostumiseen. The Meters -yhtyeen historiasta
[Show full text]
And Five Others. KRAFTWERK. Ralf Hatter and Florian Modeliste
stale bread. Even heating it up as they do accompaniment. Did Worlds Collide?; Me- Roulette; Mountain of Sound; Crystals; The makes it no more than stale toast. J.V. chanics; When Love Has Overgrown; As Bells of Home; Dance Music; Pineapple Hours Go By; Bootleg: and fiveothers. Symphony. VERTIGO VEL-2006 $6.98, ® GRATEFUL DEAD: Blues for Allah. Grateful A&M SP 4535 $6.98. VC8-2006 $7.95, © VCR4-2006 $7.95. Dead (vocals and instrumentals). Help on the WaylSlipknot; Franklin's Tower; King Solo - Performance: Blah bl a h Performance Pointless man's Marbles; Stronger Than Dirt or Mak- Recording: Good Recording: Very good in' the Turkey; The Music Never Stopped; Oh, somebody out there must like it. Appar- Kraftwerk is a cargo of electronic gear, two or Crazy Fingers; and four others. GRATEFUL. ently there will always be a market for two three quaint old "musical instruments" left DEAD GD-LA494-G $6.98, GD-EA494- young men with large eyes and a suitable over from the twentieth century, and two H $7.98, GD-CA494-H $7.98. amount of hair who sing harmony and write German persons, Ralf Hiitter and Florian Performance: Formal songs addressed to universal themes. The ly- Schneider. What happens is that the persons Recording: Very good rics pass as "pop poetry," the performances manipulate knobs and buttons and other con- are breathy, and the studio musicians never trols on the electronic gear and ityields Innovative art seems ugly at first, eminent miss a beat. And someone out there must be sounds vaguely like music.
[Show full text]
WDAM Radio Presents the Rest of the Story
WDAM Radio Presents The Rest Of The Story # Artist Title Chart Comments Position/Year 0000 Mr. Announcer & The “Introduction/Station WDAM Radio Singers Identification” 0001 Big Mama Thornton “Hound Dog” #1-R&B/1953 0001A Rufus Thomas "Bear Cat" #3-R&B/1953 0001A_ Charlie Gore & Louis “You Ain't Nothin' But A –/1953 Innes Female Hound Dog” 0001AA Romancers “House Cat” –/1955 0001B Elvis Presley “Hound Dog” #1/1956 0001BA Frank (Dual Trumpet) “New Hound Dog” –/1956 Motley & His Crew 0001C Homer & Jethro “Houn’ Dog (Take 2)” –/1956 0001D Pati Palin “Alley Cat” –/1956 0001E Cliff Johnson “Go ‘Way Hound Dog” –/1958 0002 Gary Lewis & The "Count Me In" #2/1965 Playboys 0002A Little Jonna Jaye "I'll Count You In" –/1965 0003 Joanie Sommers "One Boy" #54/1960 0003A Ritchie Dean "One Girl" –/1960 0004 Angels "My Boyfriend's Back" #1/1963 0004A Bobby Comstock & "Your Boyfriend's Back" #98/1963 The Counts 0004AA Denny Rendell “I’m Back Baby” –/1963 0004B Angels "The Guy With The Black Eye" –/1963 0004C Alice Donut "My Boyfriend's Back" –/1990 adult content 0005 Beatles [with Tony "My Bonnie" #26/1964 Sheridan] 0005A Bonnie Brooks "Bring Back My Beatles (To –/1964 Me)" 0006 Beach Boys "California Girls" #3/1965 0006A Cagle & Klender "Ocean City Girls" –/1985 0006B Thomas & Turpin "Marietta Girls" –/1985 0007 Mike Douglas "The Men In My Little Girl's #8/1965 Life" 0007A Fran Allison "The Girls In My Little Boy's –/1965 Life" 0007B Cousin Fescue "The Hoods In My Little Girl's –/1965 Life" 0008 Dawn "Tie A Yellow Ribbon Round #1/1973 the Ole Oak Tree"
[Show full text]