CONGRESSIONAL RECORD— Extensions of Remarks E30 HON

Total Page:16

File Type:pdf, Size:1020Kb

CONGRESSIONAL RECORD— Extensions of Remarks E30 HON E30 CONGRESSIONAL RECORD — Extensions of Remarks January 13, 2010 took a leave of absence to raise her four chil- in her field by The University of Northern Colo- Mitchell marveled that ‘‘. of all the singers, dren: Louise, Richard, William Jr. and James. rado Alumni Association, where a teaching he was the only one that could hear jazz As her family moved to a new home in 1950 scholarship has been established in her name. changes and really sing in that style . and near the Newlon School, the Greenwoods initi- In 2001, the Denver Public Schools even built it was just hit after hit.’’ ated the integration of the neighborhood. Their a school and named it the Marie L. Green- Willie Mitchell’s contributions and influence children became the first African Americans to wood K–8 school in her honor. Race relations transcends the boundaries of place and time. attend Newlon and Marie and William R. in America have not improved as quickly as Detroit’s distinguished Motown Records, head- Greenwood, Marie’s husband, created the we would ever hope, but without pioneers like ed by Berry Gordy, Jr., sent a team down to framework at that school for what we now Marie Greenwood leading the way, barriers Hi Records to learn the secret behind Willie know as a Parent Teacher Association (PTA). would never be broken and dreams would Mitchell’s sound. These sounds can still be Marie organized a preschool program and be- never become reality. In advance of our an- heard in recent string and horn arrangements came the first PTA president. In 1953, she re- nual commemoration of the life and lessons of on Rod Stewart’s newest album ‘‘Soulbook,’’ a turned to teaching as a primary grade sub- Dr. Martin Luther King, Jr., please join me in soon-to-be released album by legend Solomon stitute teacher with the desire to teach full-time paying tribute to Marie Louise Anderson Burke and in the current artistry of pop singer at the Newlon school. Greenwood for her life’s work as a distin- John Mayer, hip-hop artist Anthony Hamilton, In 1955, in spite of the administration’s al- guished educator, public servant and social and others. leged discrimination against minority teachers trailblazer. Willie Mitchell received many awards includ- and their practice of assigning African Amer- f ing the 2008 GRAMMYs Trustees Award for a ican teachers only to schools in the then pre- lifetime of achievements. In 2004, the portion dominantly African American neighborhood of HONORING THE LIFE OF MEMPHIS of Lauderdale Street in front of Royal Studios Northeast Denver, Marie obtained a regular MUSIC ICON WILLIE MITCHELL in Memphis, which Willie Mitchell retained teaching position at Newlon School. This was after the sale of Hi Records in the late 70s, due, in part, to the PTA mothers who recog- HON. STEVE COHEN was renamed ‘‘Willie Mitchell Boulevard’’ by nized Marie’s proficiency as a teacher and ad- OF TENNESSEE the City. vocated on her behalf. Her keen ability to re- IN THE HOUSE OF REPRESENTATIVES Willie Mitchell was laid to rest today in late to both students and teachers, along with Wednesday, January 13, 2010 her belief that every child can learn, earned Memphis. He gave people lots of love and her recognition as one of the best teachers in Mr. COHEN. Madam Speaker, I rise today happiness and reasons to stay together—he the Denver Public Schools. Marie retired from to honor the life of Willie Mitchell, a great and Al Green. We’ll all miss Willie Mitchell. I teaching in 1974, but completed her book Memphis music performer, producer, icon, and appreciate the fact that he came our way and ‘‘Every Child Can Learn’’, which looks back on patriarchal figure to many jazz and R&B art- helped produce the Memphis sound and be- her 30 years of experience and discusses the ists. Willie Mitchell was a great trumpeter, came part of that great Memphis legend of challenges she faced during that time. bandleader, and early in his career had soul music. He was loved by his musical com- The Denver community is fortunate to have worked with talented artists, including Otis munity and by his family. He leaves two won- such a strong role model and leader in Marie Clay. After the passing of Joe Coughi, Willie derful daughters, two grandsons who became Louise Anderson Greenwood. She continues Mitchell took over Hi Records on Lauderdale his sons, a step-son and a musical history and helping children and promoting literacy Street in South Memphis where he assembled tradition that will live on forever. through the ‘‘Read Aloud’’ program, which has house band Hi Rhythm and defined the adult volunteers reading books to young chil- sounds of O.V. Wright, Syl Johnson, Ann f Peebles, and many others. dren both in Denver Public Schools and at PERSONAL EXPLANATION Denver Public Libraries. She has maintained Willie Mitchell’s greatest find could, argu- her dedication to the Alpha Kappa Alpha So- ably, be singer Al Green. As a great horn rority for more than 75 years. Marie is also still player and musician, Willie Mitchell was per- HON. BARBARA LEE active in her church. At 97 years old, her exu- forming in Texas and Al Green was on the bill. OF CALIFORNIA berance and spirit are reflected in her active He told Al Green, ‘‘Come back to Memphis IN THE HOUSE OF REPRESENTATIVES and I’ll make you a star’’—and Willie Mitchell involvement in the liturgical dance ministry of Wednesday, January 13, 2010 Shorter AME Church of which she has been a made it happen for Al Green. That happened member since 1927. often in Memphis someone saying,—‘‘Come to Ms. LEE of California. Madam Speaker, Marie has been recognized by several orga- Memphis and I’ll make you a star.’’ And then today I missed rollcall vote No. 1, on a nizations for her many years as an educator Al Green helped to unite the sounds of jazz quorum call of the House. Had I been able to, and overcoming prejudice throughout her ca- and R&B to meet the demands of a new era I would have voted ‘‘present’’ on this rollcall reer. She was honored in 1997 as a pioneer of music. Speaking about Al Green, Willie vote. VerDate Nov 24 2008 05:19 Jan 14, 2010 Jkt 089060 PO 00000 Frm 00016 Fmt 0626 Sfmt 9920 E:\CR\FM\K13JA8.021 E13JAPT1 dcolon on DSK2BSOYB1PROD with REMARKS.
Recommended publications
  • An Evening of Burlesque 8 March 2013
    Programme of events January to March 2013 An evening of burlesque 8 March 2013 Also appearing Rod Stewart tribute · Fleetwood Bac The Elephant Bridesmaid Welcome to Medina Theatre’s spring 2013 programme of entertainment for all ages! January 17 Thursday Vectis DFAS 20 Sunday Island Concert Band 26 Saturday Isle of Wight Symphony Orchestra February 6 Wednesday Film: Skyfall (12A) 13 Wednesday Film: Twilight Saga Breaking Dawn Part 2 (12A) 16 Saturday Wight Strollers Pantomime 17 Sunday Wight Strollers Pantomime 20 Wednesday Film: Great Expectations (12A) 21 Thursday Vectis DFAS 22 Friday Rod Stewart Tribute 23 Saturday Wight Strollers Pantomime 27 Wednesday Film: Gambit (12A) Dance Lecture Comedy Film Club Music Exhibition Performance Film club members get ten per cent discount where you see the film club symbol. 2 Box office (01983) 527020 You can find out more about Medina Theatre events and book online at medinatheatre.co.uk MARCH 1 Friday Fleetwood Bac 2 Saturday IW Cantata Choir 3 Sunday The Elephant Bridesmaid 6 Wednesday Film: Life of Pi (PG) 8 Friday An Evening of Burlesque 13 Wednesday Film: Les Miserables 16 Saturday Isle of Wight Symphony Orchestra 20 Wednesday Film: Quartet (12A) 21 Thursday Vectis DFAS 23 Saturday Elmwood School of Dance 24 Sunday PLEASE NOTE Due to the refurbishment programme, from early January until late April, while the theatre remains open, the first floor toilets, bar and café will be closed. We apologise for the inconvenience this may cause but the new bar and café area and remodelled toilets will give the first floor around the theatre a new bright and airy feel.
    [Show full text]
  • Steve Cropper | Primary Wave Music
    STEVE CROPPER facebook.com/stevecropper twitter.com/officialcropper Image not found or type unknown youtube.com/channel/UCQk6gXkhbUNnhgXHaARGskg playitsteve.com en.wikipedia.org/wiki/Steve_Cropper open.spotify.com/artist/1gLCO8HDtmhp1eWmGcPl8S If Yankee Stadium is “the house that Babe Ruth built,” Stax Records is “the house that Booker T, and the MG’s built.” Integral to that potent combination is MG rhythm guitarist extraordinaire Steve Cropper. As a guitarist, A & R man, engineer, producer, songwriting partner of Otis Redding, Eddie Floyd and a dozen others and founding member of both Booker T. and the MG’s and The Mar-Keys, Cropper was literally involved in virtually every record issued by Stax from the fall of 1961 through year end 1970.Such credits assure Cropper of an honored place in the soul music hall of fame. As co-writer of (Sittin’ On) The Dock Of The Bay, Knock On Wood and In The Midnight Hour, Cropper is in line for immortality. Born on October 21, 1941 on a farm near Dora, Missouri, Steve Cropper moved with his family to Memphis at the age of nine. In Missouri he had been exposed to a wealth of country music and little else. In his adopted home, his thirsty ears amply drank of the fountain of Gospel, R & B and nascent Rock and Roll that thundered over the airwaves of both black and white Memphis radio. Bit by the music bug, Cropper acquired his first mail order guitar at the age of 14. Personal guitar heroes included Tal Farlow, Chuck Berry, Jimmy Reed, Chet Atkins, Lowman Pauling of the Five Royales and Billy Butler of the Bill Doggett band.
    [Show full text]
  • Dena Derose, Vocals and Piano Martin Wind, Bass • Matt Wilson, Drums with Sheila Jordan, Vocal • Jeremy Pelt, Trumpet Houston Person, Tenor Saxophone
    19 juin, 2020. June 19, 2020. MAN MAN DREAM HUNTING IN THE VALLEY OF THE IN-BETWEEN CD / 2XLP / CS / DIGITAL SP 1350 RELEASE DATE: MAY IST, 2020 TRACKLISTING: 1. Dreamers 2. Cloud Nein 3. On the Mend 4. Lonely Beuys 5. Future Peg 6. Goat 7. Inner Iggy 8. Hunters 9. Oyster Point 10. The Prettiest Song in the World 11. Animal Attraction 12. Sheela 13. Unsweet Meat 14. Swan 15. Powder My Wig 16. If Only 17. In the Valley of the In-Between GENRE: Alternative Rock Honus Honus (aka Ryan Kattner) has devoted his career to exploring the uncertainty between life’s extremes, beauty, and ugliness, order and chaos. The songs on Dream Hunting in the Valley of the In-Between, Man Man’s first album in over six years and their Sub Pop debut, are as intimate, soulful, and timeless as they are audaciously inventive and daring, resulting in his best Man Man album to date. 0 9 8 7 8 7 1 3 5 0 2 209 8 7 8 7 1 3 5 0 1 5 CD Packaging: Digipack 2xLP Packaging: Gatefold jacket w/ custom The 17-track effort, featuring “Cloud Nein,” “Future Peg,” “On the with poster insert dust sleeves and etching on side D Includes mp3 coupon Mend” “Sheela,” and “Animal Attraction,” was produced by Cyrus NON-RETURNABLE Ghahremani, mixed by S. Husky Höskulds (Norah Jones, Tom Waits, Mike Patton, Solomon Burke, Bettye LaVette, Allen Toussaint), and mastered by Dave Cooley (Blood Orange, M83, DIIV, Paramore, Snail Mail, clipping). Dream Hunting...also includes guest vocals from Steady Holiday’s Dre Babinski on “Future Peg” and “If Only,” and Rebecca Black (singer of the viral pop hit, “Friday”) on “On The Mend” and “Lonely Beuys.” The album follows the release of “Beached” and “Witch,“ Man Man’s contributions to Vol.
    [Show full text]
  • Publishing Blackness: Textual Constructions of Race Since 1850
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE publishing blackness publishing blackness Textual Constructions of Race Since 1850 George Hutchinson and John K. Young, editors The University of Michigan Press Ann Arbor Copyright © by the University of Michigan 2013 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2016 2015 2014 2013 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Publishing blackness : textual constructions of race since 1850 / George Hutchinson and John Young, editiors. pages cm — (Editorial theory and literary criticism) Includes bibliographical references and index. ISBN 978- 0- 472- 11863- 2 (hardback) — ISBN (invalid) 978- 0- 472- 02892- 4 (e- book) 1. American literature— African American authors— History and criticism— Theory, etc. 2. Criticism, Textual. 3. American literature— African American authors— Publishing— History. 4. Literature publishing— Political aspects— United States— History. 5. African Americans— Intellectual life. 6. African Americans in literature. I. Hutchinson, George, 1953– editor of compilation. II. Young, John K. (John Kevin), 1968– editor of compilation PS153.N5P83 2012 810.9'896073— dc23 2012042607 acknowledgments Publishing Blackness has passed through several potential versions before settling in its current form.
    [Show full text]
  • For Hodges, Music's 'All About Love' : Go Memphis
    For Hodges, music's 'all about love' By Bob Mehr Thursday, July 21, 2011 Charles Hodges has seen the light twice in his life. The first time was as a 13-year-old boy, performing at his eighth-grade graduation. "The teacher asked me if I would play 'What I'd Say' by Ray Charles. I did and got such huge cheers, a standing ovation. All I could see was the (stage) lights, but I could hear the applause and the whistles," says Hodges. "Right then I said, 'This is what I want to do. I want to be a musician.'" Some 40 years later, Charles Hodges saw the light again; this time it was God sending out a signal to change his ways. Hodges would do just that, giving up his secular music career and becoming an ordained minister. In between those two life-altering events, Hodges was responsible for some of the most vital and familiar sounds in all of American music. As the keyboardist for Memphis' Hi Records house band, his signature organ work colored the great hits of O.V. Wright, Al Green, Ann Peebles and Syl Johnson. This past week Hodges released his second solo CD, God He's Able, a collection of soulful spiritual and worship songs. For the 64-year-old Hodges, the record is just another marker in a long musical journey and personal journey. The sixth of 12 children, Hodges was raised in what were then the farm lands of post- World War II Germantown. "It was just a two-lane highway out there," recalls Hodges.
    [Show full text]
  • Camoflauge Discography Torrent Download Link Camoflauge Discography Torrent Download Link
    camoflauge discography torrent download link Camoflauge discography torrent download link. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67e2b2492cde4eaa • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Camoflauge discography torrent download link. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67e2b2497b090621 • Your IP : 188.246.226.140 • Performance & security by Cloudflare.
    [Show full text]
  • The Funky Diaspora
    The Funky Diaspora: The Diffusion of Soul and Funk Music across The Caribbean and Latin America Thomas Fawcett XXVII Annual ILLASA Student Conference Feb. 1-3, 2007 Introduction In 1972, a British band made up of nine West Indian immigrants recorded a funk song infused with Caribbean percussion called “The Message.” The band was Cymande, whose members were born in Jamaica, Guyana, and St. Vincent before moving to England between 1958 and 1970.1 In 1973, a year after Cymande recorded “The Message,” the song was reworked by a Panamanian funk band called Los Fabulosos Festivales. The Festivales titled their fuzzed-out, guitar-heavy version “El Mensaje.” A year later the song was covered again, this time slowed down to a crawl and set to a reggae beat and performed by Jamaican singer Tinga Stewart. This example places soul and funk music in a global context and shows that songs were remade, reworked and reinvented across the African diaspora. It also raises issues of migration, language and the power of music to connect distinct communities of the African diaspora. Soul and funk music of the 1960s and 1970s is widely seen as belonging strictly in a U.S. context. This paper will argue that soul and funk music was actually a transnational and multilingual phenomenon that disseminated across Latin America, the Caribbean and beyond. Soul and funk was copied and reinvented in a wide array of Latin American and Caribbean countries including Brazil, Panama, Jamaica, Belize, Peru and the Bahamas. This paper will focus on the music of the U.S., Brazil, Panama and Jamaica while highlighting the political consciousness of soul and funk music.
    [Show full text]
  • U.S. Platinum Record Winner Launches Amsterdam Clinic to Help Dutch Artists
    Click here to read the article online U.S. Platinum Record Winner Launches Amsterdam Clinic to Help Dutch Artists ©Nugen Music Perry Michael Allen (right) working with a music production student. Nugen Music Supplied to NL Times This promotional feature was sponsored by Nugen Music. Wherever Perry Michael Allen goes, music always follows. His six-decade career in the music industry is filled with experiences from being connected to the best and brightest soul and R&B musicians ever to grace the charts, and the brilliant backing musicians that helped them become world famous. Allen wants to use that background to help the new musicians of the Netherlands grow and evolve. This week Allen launched Nugen Music in Amsterdam, a production company he has been developing for 15 years with the purpose of helping talented youth by teaching them the ins and outs of recording so they can put out material that is more likely to find commercial success. "I want to do a service called 'The Clinic' which is training for musicians and vocalists and music students, and anybody that realizes they need assistance or some counseling about their productions or recording technique," he says. "I'm teaching kids how to play; how to be able to walk into a session and just play." Aspiring musicians and producers may book an appointment with Allen via the Nugen Music website. He walks students through life as a developing talent, in some cases teaching them how they can initially launch their careers as recording musicians and support players. After all, if there is anyone who knows what the life of a session musician is like, and what it takes to be successful as one, it is Allen.
    [Show full text]
  • A RESOLUTION to Honor the Memory of Legendary Guitarist Reggie Young
    SENATE JOINT RESOLUTION NO.101 By Johnson A RESOLUTION to honor the memory of legendary guitarist Reggie Young. WHEREAS, the members of this General Assembly were saddened to learn of the passing of Reggie Young of Nashville, a humble gentleman whose talents as a guitarist were incomparable among his peers yet accessible to the average listener; and WHEREAS, during a brilliant career that spanned seven decades, Reggie Young served as the anchor of house bands at Memphis's Royal Studios/Hi Records and American Studios and was later one of Nashville's finest session players; and WHEREAS, greatly revered among his peers, Reggie Young was not a household name, but his signature work on guitar and sitar continues to be heard and appreciated worldwide; and WHEREAS, his talents earned him engagements with a stunning array of artists, from Bob Dylan to Gladys Knight, the Staple Singers to Paul Simon, Herbie Mann to Joe Cocker, and B.B. King to Sinead O'Connor; and WHEREAS, Mr. Young played on many monumentally popular recordings, including Dusty Springfield's "Son of a Preacher Man," the Box Tops' "Cry Like a Baby," Elvis Presley's "Suspicious Minds" and "In the Ghetto," and literally hundreds of other hits and classics; and WHEREAS, always a self-effacing professional, Reggie Young never sought to stand out among his fellow musicians in the studio; he played within the context of the song, adding special touches that magically made the song and the recording better, but he also excelled as a soloist when need be; and WHEREAS, he invented and played the iconic opening to Dobie Gray's "Drift Away" on the spot in the studio and recorded one of the greatest sitar solos of all-time on B.J.
    [Show full text]
  • Wilson Pickett, New York City, 1981; Swamp Dogg; Aretha Franklin, New York City, 1982; Fred Wesley, 2011; Dr
    HYTHM AND LUES From left top and clockwise: Wilson Pickett, New York City, 1981; Swamp Dogg; Aretha Franklin, New York City, 1982; Fred Wesley, 2011; Dr. Mable John. Photos: © Fredrich Cantor; Courtesy of Swamp Dogg; © Fredrich Cantor; Mark Puryear, Smithsonian Institution; Courtesy of Stax Museum of American Soul Music Right side: The Dixie Cups® began performing rhythm and blues music in 1963; the group now includes original members Barbara A. Hawkins (right) and Rosa L. Hawkins (left), joined by Athelgra Neville. Photo by Richard Strauss, Smithsonian Institution Rhythm and Blues 53 Tell It Like It Is by Mark Puryear In 1964 The Dixie Cups®, a female vocal trio from New Orleans, crooned out a cheerful version of “Chapel of Love” and knocked the Beatles from their number one spot on the pop charts. A year later, the trio released “Iko Iko,” a song first released in 1954 by James “Sugar Boy” Crawford as “Jock-A-Mo,” whose lyrics recount the meeting of two groups of Mardi Gras Indians. Since then, this song has been cov- ered by artists from the Grateful Dead to Cyndi Lauper, and continues to move new generations with its infectious New Orleans rhythms. The career of The Dixie Cups, and their direct and indirect roles in carrying rhythm and blues (R&B) into mainstream consciousness, speaks to the enduring pow- er of this music to transcend region and musical category and become a representative sound of the country. Musical Crossroads by Dwandalyn Reece The National Museum of African American History of musical genres, highlighting musical innovations, and Culture (NMAAHC) was established by an act of significant time periods and events along with Congress in 2003 making it the nineteenth museum historic performances to capture the music’s impact of the Smithsonian Institution.
    [Show full text]
  • Sustaining Afrocentric Spiritual Jazz in 21St Century Chicago
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2016 Sacred Freedom: Sustaining Afrocentric Spiritual Jazz in 21St Century Chicago Adam Zanolini The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1617 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SACRED FREEDOM: SUSTAINING AFROCENTRIC SPIRITUAL JAZZ IN 21ST CENTURY CHICAGO by ADAM ZANOLINI A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 ADAM ZANOLINI All Rights Reserved ii Sacred Freedom: Sustaining Afrocentric Spiritual Jazz in 21st Century Chicago by Adam Zanolini This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. _________________ __________________________________________ DATE David Grubbs Chair of Examining Committee _________________ __________________________________________ DATE Norman Carey Executive Officer Supervisory Committee: _________________ __________________________________________ DATE Jeffrey Taylor _________________ __________________________________________ DATE Fred Moten _________________ __________________________________________ DATE Michele Wallace iii ABSTRACT Sacred Freedom: Sustaining Afrocentric Spiritual Jazz in 21st Century Chicago by Adam Zanolini Advisor: Jeffrey Taylor This dissertation explores the historical and ideological headwaters of a certain form of Great Black Music that I call Afrocentric spiritual jazz in Chicago. However, that label is quickly expended as the work begins by examining the resistance of these Black musicians to any label.
    [Show full text]
  • RSD19 Releases PRINTABLE 27.02.19
    #RSD19 Twitter: @RSDUK / Instagram: @recordstoreday / Facebook: @RSDayUK Artist Title Label Format Want 13th Floor Elevators Psychedelic Sounds Of International Artists LP Picture Disc 808 State Four States of 808 ZTT 4x12" box set A Man Called Adam Farmarama Other Records Ltd. 12" A.R. Kane New Clear Child Hidden Art Recordings Single vinyl LP Ace Frehley Spaceman (Picture Disc) Eone Entertainment 12PD Ace of Base The Sign K7 7' PICTURE DISC Acid Mothers Temple Does The Cosmic Shepherd Space Age Recordings Double LP Dream Of Electric Tapirs? Adam French The Back Foot And Rapture Virgin EMI 7" A-HA Hunting High And Low / The Rhino 1LP, Black Vinyl Early Alternate Mixes Aidan Moffat and RM What The Night Bestows US Rock Action Records LP Hubbert Air Surfing On A Rocket Warner Music France 12" Picture Disc Airto Natural Feelings Real Gone Music 12" LP Al Green The Hi Records Singles Box Fat Possum Records 7" Box Set Set Alarm, The Live '85 Twenty First Century 2LP Recording Company Albert Washington Sad And Lonely Tidal Waves Music LP Alice Clark s/t Wewantsounds Deluxe Gatefold LP ALPHA & OMEGA DUBPLATE SELECTION VOL 1 MANIA DUB LP ALPHA & OMEGA DUBPLATE SELECTION VOL 2 MANIA DUB LP Anderson .Paak Bubblin' Aftermath/12 Tone 7" Music, LLC Andrea True More, More, More Buddah Records 12" Connection Angel Pavement Socialising With Angel Morgan Blue Town LP & 7" Pavement Antoine Dobson ft Bed Intruder & Various Enjoy The Ride 7" Gregory Bros Other YouTube Hits 1 #RSD19 Twitter: @RSDUK / Instagram: @recordstoreday / Facebook: @RSDayUK Apartments,
    [Show full text]