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December 2004 Troubadour
FREE SAN DIEGO ROUBADOUR Alternative country, Americana, roots, folk, Tblues, gospel, jazz, and bluegrass music news January 2005 www.sandiegotroubadour.com Vol. 4, No. 4 what’s Nickel Creek: inside Living the Dream Welcome Mat ………3 Mission Statement Contributors Tales from the Trails Full Circle.. …………4 Eugene Vacher Recordially, Lou Curtiss Front Porch …………6 KKSM’s Joan Rubin Tom Boyer Parlor Showcase... …8 Nickel Creek Ramblin’... …………10 Bluegrass Corner Zen of Recording Hosing Down Radio Daze The Highway’s Song... 12 Al Kooper Of Note. ……………13 Griffin House The Taylor Harvey Band Itai ickles the horse chews February 1981, also a home grown Sean and Sara when the surf is good, Rookie Card contentedly in the prodigy raised in the Idylwild moun - and one can feel the excitement in Tom McRae small backyard pasture tains a couple of hours from Vista, it the house as they prepare for one of ‘Round About ....... …14 as the three young - is the mandolin. The three friends are their regular surf safaris to Carlsbad. January Music Calendar sters on the back already creating quite a stir at blue - Mom Karen happily shows the latest porch play their instru - grass festivals and contests. photos of the body board exploits, The Local Seen ……15 ments. It’s peaceful and Life is good in those early days. and Sean and Sara both expound on Photo Page Pbucolic in rural Vista during the mid School at home, church and church the great rides, and “getting pound - 1980s for these three home- activities, surfing, skiing, camping with ed” on the bigger days. -
Mr Tambourine Man: the Life and Legacy of the Byrds Gene Clark Free Download
MR TAMBOURINE MAN: THE LIFE AND LEGACY OF THE BYRDS GENE CLARK FREE DOWNLOAD John Einerson | 339 pages | 30 Mar 2005 | BACKBEAT BOOKS | 9780879307936 | English | San Francisco, United States Mr. Tambourine Man: The Life and Legacy of the Byrds' Gene Clark They were basically played to death; they were worn out, there was nothing left Mr Tambourine Man: The Life and Legacy of the Byrds Gene Clark them. On January 20,the band, along with a group of L. Showing Inhe recorded a set of ten demos that combined country and folk music with a light touch of cosmic consciousness. Views Read Edit View history. Tambourine Man " as their debut single. Columbia Records the Byrds' record label signed Clark as a solo artist, and in he released his first solo album, Gene Clark with the Gosdin Brothers. On the basis of the quality of Clark's contributions to ByrdsDavid Geffen signed him to Asylum Records in early Archived from the original on October 12, More Stories. This lack of a central focus, combined with their onstage aloofness and uneven musicianship, sometimes earned them scathing reviews as a live act. So many great songs! Rogan House. Clark, Jim McGuinn [b]. Help Learn to edit Community portal Recent changes Upload file. The album—a melange of bluegrass, traditional honky tonkechoes of No Other "Sister Moon" and strident country rock a new arrangement of "Kansas City Southern" —was produced by Kaye with an understated touch. The Byrds. Upon release, critical reaction to the album was almost universally positive, with Billboard magazine noting "the group has successfully combined folk material with pop-dance beat arrangements. -
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. -
92 Together in News Reports. Both Sharon Tate and Rosemary Woodhouse Were White, Blonde, Pregnant Newlyweds. Both Were Tortured by a Cult
92 together in news reports. Both Sharon Tate and Rosemary Woodhouse were white, blonde, pregnant newlyweds. Both were tortured by a cult. The head of the Church of Satan, with which Manson was affiliated, played the role of the devil in the rape scene in Polanski’s film.47 There were fundamental, irreconcilable differences between the film, the Manson case, and its representation in the news, but their striking resemblances to one another stemmed from shared and intimate ties to the same expanding commercial media enterprise, increasingly owned by the same corporations, even in the late 1960s. Manson’s homicidal anger partly resulted from his frustrated ambitions in the music industry. After record producer Terry Melcher failed to honor a scheduled meeting with Manson and his followers, who hoped to record an album, Manson ordered his group to kill everyone at Melcher’s old house, where Tate and Polanski, a powerful and recognizable Hollywood couple, resided. The Manson murders demonstrated that similarities between reality and contemporary fiction were pliable, easily exploited, and profitable, especially when reported live on local and national news. Despite the fact that Manson was not present when his followers killed Tate and six others in her Hollywood Hills neighborhood, he became the living embodiment of evil, an example cited by emerging political pro-family groups, including evangelicals, of the hedonistic excesses of sixties liberalism. Manson was used as a means of reinstating early Cold War nuclear family values after young people began flagrantly rejecting them in the 1960s. As an eccentric cult leader remorselessly tied to brutal crimes, he served as an example of the devastating personal repercussions that came from straying beyond the limits of the 1950s middle-class suburban ideal in which he was raised. -
Copyrighted Material
c01.qxd 3/29/06 11:47 AM Page 1 1 Expecting to Fly The businessmen crowded around They came to hear the golden sound —Neil Young Impossible Dreamers For decades Los Angeles was synonymous with Hollywood—the silver screen and its attendant deities. L.A. meant palm trees and the Pacific Ocean, despotic directors and casting couches, a factory of illusion. L.A. was “the coast,” cut off by hundreds of miles of desert and mountain ranges. In those years Los Angeles wasn’t acknowl- edged as a musicCOPYRIGHTED town, despite producing MATERIAL some of the best jazz and rhythm and blues of the ’40s and ’50s. In 1960 the music business was still centered in New York, whose denizens regarded L.A. as kooky and provincial at best. Between the years 1960 and 1965 a remarkable shift occurred. The sound and image of Southern California began to take over, replacing Manhattan as the hub of American pop music. Producer Phil Spector took the hit-factory ethos of New York’s Brill Building 1 c01.qxd 3/29/06 11:47 AM Page 2 2 HOTEL CALIFORNIA songwriting stable to L.A. and blew up the teen-pop sound to epic proportions. Entranced by Spector, local suburban misfit Brian Wil- son wrote honeyed hymns to beach and car culture that reinvented the Golden State as a teenage paradise. Other L.A. producers followed suit. In 1965, singles recorded in Los Angeles occupied the No. 1 spot for an impressive twenty weeks, compared to just one for New York. On and around Sunset, west of old Hollywood before one reached the manicured pomp of Beverly Hills, clubs and coffee- houses began to proliferate. -
The Original Byrds: Clockwise from Top Left, Roger (Neé Jim ) Mcguinn, Gene Clark, Chris Hill Man, Michael Clarke, and David Crosby
The original Byrds: Clockwise from top left, Roger (neé Jim ) McGuinn, Gene Clark, Chris Hill man, Michael Clarke, and David Crosby. PERFORMERS The Byrds BY BUD S C O P P A I I WAS DYLAN MEETS THE BEATLES.” That’s Roger McGuinn’s succinct explanation of the Byrds’ bold, brainy take on rock & roll. True enough: What the Byrds pulled off with 1965’s landmark Mr. Tambourine Man Was a resonant synthesis of the Beatles’ charged pro forma precision and Dylan’s mytho- poeic incantations. It turned out to be a startlingly perfect fit, inspiring much that has followed, from their mentors’ subsequent Rubber Soul and Blonde On Blonde to the work of such disparate inheritors as Tom Petty, R.E.M., U2, and Crowded House. Mr. Tambourine Man was the first rock & roll album with group vocals, sounded both totally fresh and strangely in a message, the first made up entirely of anthems, the first to evitable, as did the shimmering Bo Diddley groove of “Don’t render sound and meaning inseparable, Byrds music was Doubt Yourself, Babe” and the eerie atmospherics of “Here such a departure that it got its own name— “folk-rock”-^ Without You.” But the linchpin of the album was its triumvi making the Byrds the first hybrid band. The jaggedly beauti rate of folk-rock extravaganzas: Dylan’s “Mr. Tambourine ful sound of their 12-string electric guitars was said to have a Man” and “Chimes Of Freedom,” and Pete Seeger’s “The Bells “jingle jangle,” after the line in the Dylan-penned title song. -
B-Sides, Undercurrents and Overtones: Peripheries to Popular in Music, 1960 to the Present
B-Sides, Undercurrents and Overtones: Peripheries to Popular in Music, 1960 to the Present George Plasketes B-SIDES, UNDERCURRENTS AND OVERTONES: PERIPHERIES TO POPULAR IN MUSIC, 1960 TO THE PRESENT for Julie, Anaïs, and Rivers, heArt and soul B-Sides, Undercurrents and Overtones: Peripheries to Popular in Music, 1960 to the Present GEORGE PLASKETES Auburn University, USA © George Plasketes 2009 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. George Plasketes has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Ashgate Publishing Company Wey Court East Suite 420 Union Road 101 Cherry Street Farnham Burlington, VT 05401-4405 Surrey GU9 7PT USA England www.ashgate.com British Library Cataloguing in Publication Data Plasketes, George B-sides, undercurrents and overtones : peripheries to popular in music, 1960 to the present. – (Ashgate popular and folk music series) 1. Popular music – United States – History and criticism I. Title 781.6’4’0973 Library of Congress Cataloging-in-Publication Data Plasketes, George. B-sides, undercurrents and overtones : peripheries to popular in music, 1960 to the present / George Plasketes. p. cm.—(Ashgate popular and folk music series) ISBN 978-0-7546-6561-8 (hardcover : alk. paper) 1. Popular music—United -
The History of Rock Music - the Beginnings
The History of Rock Music - The beginnings The History of Rock Music: 1955-1966 Genres and musicians of the beginnings History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) The Counterculture 1965- 66 (These are excerpts from my book "A History of Rock and Dance Music") The Greenwich Movement TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. The British bands changed the way rock'n'roll was played. At the same time, USA folk-singers were changing the way rock'n'roll was "consumed". The fusion of music and politics that occurred in the early 1960s had lasting effects on the very nature and purpose of rock music. Rock music became a primary vehicle for expressing dissent within the Establishment, and therefore one of the most relevant aspects of the "counterculture". Even when the political element was not predominant, rock music came to adopt a stance that was "countercultural" in nature. Rock'n'roll had been discriminated against. Protest folk-singers had been discriminated against. There was a tradition that made rock music an "underground" phenomenon by nature. The youth of the USA was still searching for an identity, the process that had begun with rock'n'roll. Underground music provided several ways to achieve that goal. Fans of underground music repudiated the passive kind of listening that was typical of pop music (humming the melodies that are played often on the radio, hailing the star that is publicized by the media) and adopted a more independent and critical judgment of music. -
Sly and the Family Stone
performers sly and the family stone Sly Stone was very cool. Shirtless, vested, the languorous family. But he loved the limousines and the helpers.” look, one eye cocked, mouth half-open as if caught laugh Sly spent days without sleep. Concerts were an inconve ing at his own joke. Freddie, Rosie, Gregg, Larry, Cynthia nience, Journalist Roy Carr witnessed one tour: and Jerry were the Family, and we were the children. “Sly was locked in a hotel room to insure making the The bikers, the stoners, a butcher, a banker, the long gig, bpt come show time he wasn’t there. Someone in the haired hippies and the Afro-ed blacks, we were all entourage confessed to seeing him leave through the back Everyday People. Sly Stone alone created that mix. And door with passport in hand. After a mad rush to the air when he raised two long fingers skyward at Woodstock, port we found Sly at customs. ‘I’m off to Amsterdam to we went wherever he wanted to take us — literally, go shopping,’ he says. ‘Tell the audience to.-wait spiritually, eventually. Sly showed his scars with the torturous 1971 album, Sly & The Family Stone’s music was immensely liberat There’s a R iot G ain’ Dm. Gritty and sarcastic, it sound ing. A tight, riotous funk, it was precisely A Whole New ed like a record at the wrong speed. And still he drew Thing. And they were a beautiful sight: rock’s first integrat blood. “Sly created a moment of lucidity in the midst of ed band, black, white, women, men. -
Cases of Note-Lanham Act and Jurisdiction Bruce Strauch the Citadel, [email protected]
Against the Grain Volume 22 | Issue 4 Article 21 September 2010 Cases of Note-Lanham Act and Jurisdiction Bruce Strauch The Citadel, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/atg Part of the Library and Information Science Commons Recommended Citation Strauch, Bruce (2010) "Cases of Note-Lanham Act and Jurisdiction," Against the Grain: Vol. 22: Iss. 4, Article 21. DOI: https://doi.org/10.7771/2380-176X.5609 This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. LEGAL ISSUES Section Editors: Bruce Strauch (The Citadel) <[email protected]> Bryan M. Carson, J.D., M.I.L.S. (Western Kentucky University) <[email protected]> Jack Montgomery (Western Kentucky University) <[email protected]> Cases of Note — Lanham Act and Jurisdiction “Wish they all could be California … torts.” Column Editor: Bruce Strauch (The Citadel) <[email protected]> Mike Love v. Associated Newspapers, Ltd., Love, founding band member, but not a Wilson, First there were some shenanigans, the sig- Brian Wilson et al, United States Court of won the right to use The Beach Boys trademark nificance of which will appear later if you can Appeals for the Ninth Circuit, 2010 U.S. App. in concerts and continued to tour as a nostalgia stand to keep reading. LEXIS 13935 (2010). band for … well … those of a certain age. And, Love sued in California but said he was a Those of us of a certain age of course know note that Love’s right to the mark is only in live resident of Nevada. -
SURF MUSIC by Geoffrey Himes
SURF MUSIC By Geoffrey Himes It often seems that the United States is a pool table that has been tilted so all its hopes and dreams roll to the west. Whenever Americans want a new and better life, they head toward the setting sun. Whether it was the white-canvas covered wagons of the 1850s, the rusty Okie jalopies of the 1930s or the painted hippie vans of the 1960s, the direction is always westward—and eventually they collect in the pool table’s corner pocket known as Southern California. When Chuck Berry went chasing after his imagined utopia in the song “Promised Land," where did he end up? Los Angeles. Thousands of Hollywood movies had advertised Southern California as a nirvana of palm trees, sunshine, beautiful girls and beautiful boys, convincing folks from Oklahoma, Kansas and Ohio to pack up and move to the coast. By the end of the 1950s, the area around L.A. was full of almost as many transplanted Midwesterners as native Californians. The natives knew the region was no utopia, but the first and second-generation immigrants, these strangers in paradise, still clung to the notion of America’s western edge as the place where their dreams might come true. The teens and twentysomethings in these families—too young and too new to the West Coast to be disillusioned— turned that utopian impulse into a new kind of rock'n'roll: surf music. Brian, Dennis and Carl Wilson, whose father and mother had moved to California from Kansas and Minnesota respectively, formed the Beach Boys. -
1967: a Year in the Life of the Beatles
1967: A Year In The Life Of The Beatles History, Subjectivity, Music Linda Engebråten Masteroppgave ved Institutt for Musikkvitenskap UNIVERSITETET I OSLO November 2010 Acknowledgements First, I would like to express my gratitude towards my supervisor Stan Hawkins for all his knowledge, support, enthusiasm, and his constructive feedback for my project. We have had many rewarding discussions but we have also shared a few laughs about that special music and time I have been working on. I would also like to thank my fellow master students for both useful academically discussions as much as the more silly music jokes and casual conversations. Many thanks also to Joel F. Glazier and Nancy Cameron for helping me with my English. I thank John, Paul, George, and Ringo for all their great music and for perhaps being the main reason I begun having such a big interest and passion for music, and without whom I may not have pursued a career in a musical direction at all. Many thanks and all my loving to Joakim Krane Bech for all the support and for being so patient with me during the course of this process. Finally, I would like to thank my closest ones: my wonderful and supportive family who have never stopped believing in me. This thesis is dedicated to my grandparents. There are places I'll remember All my life though some have changed. Some forever not for better Some have gone and some remain. All these places have their moments With lovers and friends I still can recall. Some are dead and some are living, In my life I've loved them all.