Album Oriented Lists

Total Page:16

File Type:pdf, Size:1020Kb

Album Oriented Lists ALBUM ORIENTED PODCAST LIST EW list NME list Mid Year 100. Ramones, Ramones (1976) D 100. The Smiths, 'Hatful Of Hollow' (1984) E 1980 D 99. Erykah Badu, Mama’s Gun (2000) E 99. The Libertines, 'The Libertines' (2004) D 2002 E 98. Queens of the Stone Age, Songs for the Deaf (2002) D 98. Neutral Milk Hotel, 'In The Aeroplane Over The Sea' (1998) E 2000 D 97. Dusty Springfield, Dusty in Memphis (1969) E 97. The Smiths, 'The Smiths' (1984) D 1976-7 E 96. Dixie Chicks, Home (2002) D 96. Public Enemy, 'Fear Of A Black Planet' (1990) E 1996 D 95. Various Artists, Saturday Night Fever (1977) E 95. Talk Talk, 'Spirit Of Eden' (1988) D 1982-3 E 94. Beyonce, B’Day (2006) D 94. The Rolling Stones, 'Beggars Banquet'(1968) E 1989 D 100. The Who—Live at Leeds (1970) E 93. N.W.A. Straight Outta Compton (1988) D *93. Queens Of The Stone Age 'Songs For The Deaf' (2002) E 1978 E 98. The Zombies—Odyssey and Oracle (1968) E 92. Elliott Smith, Either/Or (1997) E 92. Super Furry Animals, 'Radiator' (1997) D 1997 D 91. Sly and the Family Stone, There’s a Riot Goin’ On (1971) D 91. Prince And The Revolution, 'Purple Rain'(1984) E 1969 E 96. The Byrds—The Notorious Byrd Brothers (1968) E 90. The White Stripes, White Blood Cells (2001) E 90. The Streets 'A Grand Don’t Come For Free' (2004) D 2002-3 D 89. Sleater-Kinney, Dig Me Out (1997) D 89. Lauryn Hill, 'The Miseducation Of Lauryn Hill' (1998) E 1997-8 E 95. Air—Moon Safari (1998) E 88. New Order, Power, Corruption and Lies (1983) E 88. Roxy Music, 'For Your Pleasure' (1973) D 1978 D 87. Dolly Parton, Coat of Many Colors (1971) D 87. The Beatles, 'Sgt. Pepper’s Lonely Hearts Club Band' (1967) E 1969 E 86. PJ Harvey, Stories from the City, Stories from the Sea (2000) E 86. Jeff Buckley, 'Grace' (1994) D 1997 D 85. Tom Waits, Rain Dogs (1985) D 85. Bruce Springsteen, 'Born To Run' (1975) E 1991 E 94. Spiritualized—Ladies and Gentlemen We are Floating in Space (1997) E 91. Portishead—Dummy (1994) E 84. Patti Smith, Horses (1975) E 84. Hole, 'Live Through This' (1994) D 1995 D 89. DJ Shadow—Endtroducing… (1996) D 83. James Brown, In the Jungle Groove [anthology] (1970) D 83. The Band, 'The Band' (1969) E 1969-70 E 82. Pavement, Slanted and Enchanted (1992) E 82. Carole King, 'Tapestry' (1971) D 1981-2 D 88. The Mothers of Invention—We’re Only in It for the Money (1968) D 81. Pixies, Doolittle (1989) D 81. Kraftwerk, 'Trans-Europe Express' (1977) E 1972-3 E 80. Elton John, Goodbye Yellow Brick Road (1973) E 80. Iggy & The Stooges, 'Raw Power' (1973) D 1972 D 84. Funkadelic—Maggot Brain (1971) D 79. Led Zeppelin, Led Zeppelin IV (1971) D 79. Miles Davis, 'Kind Of Blue' (1959) E 1965 E 78. Bjork, Post (1995) E 78. Suede, 'Suede' (1993) D 1994 D 82. Frank Zappa—Hot Rats (1969) D 77. My Bloody Valentine, Loveless (1991) D 77. The White Stripes, 'De Stijl' (2000) E 1984-5 E 81. Stevie Wonder—Songs in the Key of Life (1976) E 76. Talking Heads, Remain in Light (1980) E 76. Daft Punk, 'Discovery' (2001) D 1972 D 80. The Band—Songs from Big Pink (1968) D 75. Elvis Costello, My Aim is True (1977) D 75. Green Day, 'Dookie' (1994) E 1985-6 E 79. The Dead Kennedys—Fresh Fruit for Rotting Vegetables (1980) E 74. Amy Winehouse, Back to Black (2006) E 74. Nas, 'Illmatic' (1994) D 1977-8 D 78. Joni Mitchell—Hissing of Summer Lawns (1975) D 73. Various Artists, The Harder They Come (1972) D 73. Bob Dylan, 'Bringing It All Back Home' (1965) E 1968-9 E 77. Gang of Four—Entertainment! (1979) E 72. Beastie Boys, Paul’s Boutique (1989) E 72. Lou Reed, 'Transformer' (1972) D 1975-6 D 71. The Kinks, The Kinks Are The Village Green Preservation Society (1968) D 71. Neil Young, 'Harvest' (1972) E 1970 E *70. Iggy and the Stooges, Raw Power (1973) E 70. The Libertines, 'Up The Bracket' (2002) D 1987-8 D 75. Brian Eno—Here Come the Warm Jets (1974) D 69. Sonic Youth, Daydream Nation (1988) D 69. R.E.M., 'Murmur' (1983) E 1978-9 E 74. Captain Beefheart—Clear Spot (1972) E 68. Public Enemy, It Takes a Nation of Millions to Hold Us Back (1988) E 68. Van Morrison, 'Astral Weeks' (1968) D 1970 D 73. Steely Dan—Can’t Buy a Thrill (1972) E 67. Neil Young, After the Gold Rush (1970) E 67. Oasis, '(What’s The Story) Morning Glory?' (1995) D 1981-2 E *66. Hole, Live Through This (1994) D 66. Radiohead, 'The Bends' (1995) E 1994-5 D 72. Gram Parsons—Grievous Angel (1974) E 65. Love, Forever Changes (1967) E 65. R.E.M., 'Automatic For The People' (1992) D 1983 E 64. Nine Inch Nails, The Downward Spiral (1994) D 64. Bob Dylan, 'Highway 61 Revisited' (1965) E 1986-7 D 71. The Slits—Cut (1979) E 70. Neil Young—Everybody Knows This is Nowhere (1969) E 63. Television, Marquee Moon (1977) E 63. Joni Mitchell, 'Blue' (1971) D 1968 E 69. Aretha Franklin—I Never Loved a Man the Way I Love You (1967) D 62. The Replacements, Let It Be (1984) D 62. Bob Dylan, 'Blonde On Blonde' (1966) E 1975 D 61. De La Soul, 3 Feet High and Rising (1989) E 61. The Clash, The Clash (1977) D 1983 E 60. Beck, Odelay (1996) D 60. Massive Attack, 'Blue Lines' (1991) E 1993-4 D 59. Metallica, Master of Puppets (1986) E 59. Radiohead, 'In Rainbows' (2007) D 1996-7 E 58. Dr. Dre, The Chronic (1992) D 58. Pixies, 'Surfer Rosa' (1988) E 1990 D 57. Alicia Keys, Songs in A Minor (2001) E 57. Kraftwerk, 'The Man Machine' (1978) D 1989-90 E 68. Free—Fire and Water (1970) D 56. Arcade Fire, Funeral (2004) D *56. Neil Young, 'After The Gold Rush' (1970) E 1970 D *55. Nas, Illmatic (1994) E 55. The Rolling Stones, 'Sticky Fingers'(1971) D 1982-3 E 54. R.E.M., Lifes Rich Pageant (1986) D *54. Talking Heads, 'Remain In Light' (1980) E 1983 D 53. The Flaming Lips, The Soft Bulletin (1999) E 53. David Bowie, Station To Station (1976) D 1987-8 E 52. A Tribe Called Quest, The Low End Theory (1991) D 52. The Rolling Stones, 'Let It Bleed' (1969) E 1980 D 51. Chuck Berry, The Great Twenty-Eight [anthology] (1963) E 51. Fleetwood Mac, 'Rumours' (1977) D 1973 E 67. Aztec Camera—High Land, Hard Rain (1983) D 66. The Monks—Black Monk Time (1966) D 50. The Smiths, The Queen is Dead (1986) D *50. Dusty Springfield, 'Dusty In Memphis'(1969) E 1980-1 D 65. Tricky—Maxinquaye (1995) E 64. MC5—Kick Out the Jams (1968) E 49. LCD Soundsystem, Sound of Silver (2007) E *49. LCD SOUNDSYSTEM, Sound Of Silver (2007) D 1987-8 E 48. Outkast, Stankonia (2000) D 48. Kate Bush 'Hounds Of Love' (1985) E 1992-3 D 47. The Cure, Disintegration (1989) E 47. The Smiths, 'Strangeways Here We Come'(1987) D 1988 E 63. Big Star—Third/Sister Lovers (1975) D 46. The Beatles, Rubber Soul (1985) D 46. Bjork, 'Debut' (1993) E 1984 D 62. Can—Future Days (1973) E 45. Radiohead, OK Computer (1997) E 45. Blondie, 'Parallel Lines' (1978) D 1975-6 E 44. Michael Jackson, Off the Wall (1979) D 44. Manic Street Preachers, 'The Holy Bible'(1994) E 1986-7 D 43. Madonna, Madonna (1983) E *43. The Beatles, 'Rubber Soul' (1965) D 1974 E 42. AC/DC, Back in Black (1980) D 42. Stevie Wonder, 'Innervisions' (1973) E 1976 D 61. Todd Rundgren—Something/Anything (1972) E 41. Eminem, The Marshall Mathers LP (2000) E *41.Sonic Youth 'Daydream Nation' (1988) D 1994 E 40. John Lennon, John Lennon/Plastic Ono Band (1970) D 40. Joy Division, 'Unknown Pleasures' (1979) E 1974-5 D 39. The Who, Who’s Next (1971) E 39. The Clash, 'London Calling' (1979) D 1969-70 E 57. Jimi Hendrix Experience—Electric Ladyland (1968) D 50. Moby Grape—Moby Grape (1967) D 38. The Velvet Underground, The Velvet Underground & Nico (1967) D 38. The Sex Pistols, 'Never Mind The Bollocks' (1977) E 1972 D 37. Pink Floyd, The Dark Side of the Moon (1973) E *37. Love, 'Forever Changes' (1967) D 1970 E 36. Jay-Z, The Blueprint (2001) D 36. Bob Dylan, 'Blood On The Tracks' (1975) E 1988 D 49. Led Zeppelin—Physical Graffiti (1975) E 35. The Rolling Stones, Some Girls (1978) E 35. Nirvana, 'In Utero' (1993) D 1985-6 E 48. Donald Fagen—The Nightfly (1982) D 34. David Bowie, The Rise and Fall of Ziggy Stardust and the Spiders from Mars (1972) D 34. The Beatles, 'Abbey Road' (1969) E 1977 D 47. Richard and Linda Thompson—I Want to See the Bright Lights Tonight (1974) E 46. Bruce Springstein—Darkness on the Edge of Town (1978) E 33. Wu-Tang Clan, Enter the Wu-Tang (36 Chambers) (1993) E 33. Blur, 'Modern Life Is Rubbish' (1993) D 1985-6 E 32. Guns N’ Roses, Appetite for Destruction (1987) D 32. Beastie Boys, 'Paul’s Boutique' (1989) E 1986 D 43. The Jesus and Mary Chain—Psychocandy (1985) E 31.
Recommended publications
  • Is Hip Hop Dead?
    IS HIP HOP DEAD? IS HIP HOP DEAD? THE PAST,PRESENT, AND FUTURE OF AMERICA’S MOST WANTED MUSIC Mickey Hess Library of Congress Cataloging-in-Publication Data Hess, Mickey, 1975- Is hip hop dead? : the past, present, and future of America’s most wanted music / Mickey Hess. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-275-99461-7 (alk. paper) 1. Rap (Music)—History and criticism. I. Title. ML3531H47 2007 782.421649—dc22 2007020658 British Library Cataloguing in Publication Data is available. Copyright C 2007 by Mickey Hess All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2007020658 ISBN-13: 978-0-275-99461-7 ISBN-10: 0-275-99461-9 First published in 2007 Praeger Publishers, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.praeger.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10987654321 CONTENTS ACKNOWLEDGMENTS vii INTRODUCTION 1 1THE RAP CAREER 13 2THE RAP LIFE 43 3THE RAP PERSONA 69 4SAMPLING AND STEALING 89 5WHITE RAPPERS 109 6HIP HOP,WHITENESS, AND PARODY 135 CONCLUSION 159 NOTES 167 BIBLIOGRAPHY 179 INDEX 187 ACKNOWLEDGMENTS The support of a Rider University Summer Fellowship helped me com- plete this book. I want to thank my colleagues in the Rider University English Department for their support of my work.
    [Show full text]
  • Digitale Disconnectie Voor De La Soul
    juridisch Digitale disconnectie dreigt voor hiphopgroep De La Soul Stakes Is High Bjorn Schipper Met de lancering op Netflix van de nieuwe hitserie The Get Down staat de opkomst van hiphop weer volop in de belangstelling. Tegen de achtergrond van de New Yorkse wijk The Bronx in de jaren ’70 krijgt de kijker een beeld van hoe discomuziek langzaam plaatsmaakte voor hiphop en hoe breakdancen en deejayen in zwang raakten. Een hiphopgroep die later furore maakte is De La Soul. In een tijd waarin digitale exploitatie volwassen is geworden en de online-mogelijkhe- den haast eindeloos zijn, werd onlangs bekend dat voor De La Soul juist digitale disconnectie dreigt met een nieuwe generatie (potentiële) fans1. In deze bijdrage ga ik in op de bizarre digi- tale problemen van De La Soul en laat ik zien dat ook andere artiesten hiermee geconfronteerd kunnen worden. De La Soul: ‘Stakes Is High’ Net als andere hiphopalbums2 bevatten de albums van De New Yorkse hiphopgroep De La Soul bestaat De La Soul vele samples. Dat bleef juridisch niet zon- uit Kelvin Mercer, David Jude Jolicoeur en Vincent der gevolgen en zorgde voor kopzorgen in verband met Mason. De La Soul brak in 1989 direct door met het het clearen van de gebruikte samples. Niet zo vreemd album 3 Feet High and Rising en kreeg vooral door ook als we bedenken dat in die tijd weinig jurispruden- de tekstuele inhoud en het gekleurde hoesontwerp al tie bestond over (sound)sampling. Zo kreeg De La Soul snel een hippie-achtig imago aangemeten. Met hun het na de release in 1989 van 3 Feet High and Rising vaste producer Prince Paul bewees De La Soul dat er aan de stok met de band The Turtles.
    [Show full text]
  • The JB's These Are the JB's Mp3, Flac
    The J.B.'s These Are The J.B.'s mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: These Are The J.B.'s Country: US Released: 2015 Style: Funk MP3 version RAR size: 1439 mb FLAC version RAR size: 1361 mb WMA version RAR size: 1960 mb Rating: 4.7 Votes: 880 Other Formats: APE VOX AC3 AA ASF MIDI VQF Tracklist Hide Credits These Are the JB's, Pts. 1 & 2 1 Written-By – Phelps Collins*, Clayton Isiah Gunnels*, Clyde Stubblefield, Darrell Jamison*, 4:45 Frank Clifford Waddy*, John W. Griggs*, Robert McCollough*, William Earl Collins 2 I’ll Ze 10:38 The Grunt, Pts. 1 & 2 Written-By – Phelps Collins*, Clayton Isiah Gunnels*, Clyde Stubblefield, Darrell Jamison*, 3 3:29 Frank Clifford Waddy*, James Brown, John W. Griggs*, Robert McCollough*, William Earl Collins Medley: When You Feel It Grunt If You Can 4 Written-By – Art Neville, Gene Redd*, George Porter Jr.*, James Brown, Jimi Hendrix, 12:57 Joseph Modeliste, Kool & The Gang, Leo Nocentelli Companies, etc. Recorded At – King Studios Recorded At – Starday Studios Phonographic Copyright (p) – Universal Records Copyright (c) – Universal Records Manufactured By – Universal Music Enterprises Credits Bass – William "Bootsy" Collins* Congas – Johnny Griggs Drums – Clyde Stubblefield (tracks: 1, 4 (the latter probably)), Frank "Kash" Waddy* (tracks: 2, 3, 4) Engineer [Original Sessions] – Ron Lenhoff Engineer [Restoration], Remastered By – Dave Cooley Flute, Baritone Saxophone – St. Clair Pinckney* (tracks: 1) Guitar – Phelps "Catfish" Collins* Organ – James Brown (tracks: 2) Piano – Bobby Byrd (tracks: 3) Producer [Original Sessions] – James Brown Reissue Producer – Eothen Alapatt Tenor Saxophone – Robert McCullough* Trumpet – Clayton "Chicken" Gunnels*, Darryl "Hasaan" Jamison* Notes Originally scheduled for release in July 1971 as King SLP 1126.
    [Show full text]
  • The Quality of Recorded Music Since Napster: Evidence Based on The
    Digitization and the Music Industry Joel Waldfogel Conference on the Economics of Information and Communication Technologies Paris, October 5-6, 2012 Copyright Protection, Technological Change, and the Quality of New Products: Evidence from Recorded Music since Napster AND And the Bands Played On: Digital Disintermediation and the Quality of New Recorded Music Intro – assuring flow of creative works • Appropriability – may beget creative works – depends on both law and technology • IP rights are monopolies granted to provide incentives for creation – Harms and benefits • Recent technological changes may have altered the balance – First, file sharing makes it harder to appropriate revenue… …and revenue has plunged RIAA Total Value of US Shipments, 1994-2009 16000 14000 12000 10000 total 8000 digital $ millions physical 6000 4000 2000 0 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 Ensuing Research • Mostly a kerfuffle about whether file sharing cannibalizes sales • Oberholzer-Gee and Strumpf (2006),Rob and Waldfogel (2006), Blackburn (2004), Zentner (2006), and more • Most believe that file sharing reduces sales • …and this has led to calls for strengthening IP protection My Epiphany • Revenue reduction, interesting for producers, is not the most interesting question • Instead: will flow of new products continue? • We should worry about both consumers and producers Industry view: the sky is falling • IFPI: “Music is an investment-intensive business… Very few sectors have a comparable proportion of sales
    [Show full text]
  • P-Rock Paradigms, Queer Hip Hop and Riot Grrrl Whiteness
    dig me out Discourses of Popular Music, Gender and Ethnicity edited by Maria José Belbel / Rosa Reitsamer. Art Centre Arteleku, Spain/Austria 2009 P-Rock Paradigms, Queer Hip Hop and Riot Grrrl Whiteness Exploring the intersections of music, gender, and ethnicity in feminist zines by Red Chidgey and Elke Zobl with Haydeé Jiménez Photo by Elke Zobl Ablaze! is a fanzine because we are fanz, fanatics, zealots, extremists, we are wild for stuff we’re wild for and that fact can’t change, except these passions are so real they have sell-by dates, determined by my own chemistry. - Karren Ablaze of UK fanzine Ablaze!, 1993. Zines could almost go by another name: the passion press. Fuelled by love rather than profit, zines are homemade, idiosyncratic, arty journals, which are as eccentric as their makers’ desires. Emerging in the early twentieth century from science fiction writing communities, these periodicals mutated into Xeroxed Football, TV, Rap, and Punk fanzines alongside the rise of everyday office technology and post-war fandoms. Zines are crucial to the development of subcultural identities and political ideologies. Fans themselves become cultural producers through writing, editing, designing, publishing and disseminating their own texts – sometimes alone and sometimes in a group. The spread of desktop publishing and wider zine networking in the late 1980s saw the zine scene explode: from cooking zines to subversive colouring books, survivor rape diaries to thrift store chic, DIY publications sprung up on any topics imaginable. The digital realm inalienably shaped zine culture, but paper zines still exist in their thousands – the in-your-hand nature of zines is hard to beat.
    [Show full text]
  • It's Monk Time
    Sonntag, 13. März 2016 (20:05-21:00 Uhr) KW 10 Deutschlandfunk - Musik & Information FREISTIL It’s Monk Time – Die irre Geschichte einer amerikanischen Beatband in der deutschen Provinz Von Tom Noga Redaktion: Klaus Pilger Produktion: DLF 2013 M a n u s k r i p t ACHTUNG: Die Wiederholung wurde wegen einer Sondersendung zu den Wahlen gekürzt. Dies ist das Manuskript entsprechend der Original-Länge! Urheberrechtlicher Hinweis Dieses Manuskript ist urheberrechtlich geschützt und darf vom Empfänger ausschließlich zu rein privaten Zwecken genutzt werden. Die Vervielfältigung, Verbreitung oder sonstige Nutzung, die über den in §§ 44a bis 63a Urheberrechtsgesetz geregelten Umfang hinausgeht, ist unzulässig. © - ggf. unkorrigiertes Exemplar - Regie Musik 1 („Blast Off “ von den Monks) startet. Darüber: O-Ton 1 Gary Burger (unübersetzt) “Monk music is original protest music. Monk music is music to make love by. Monk Music is music to relax by.” Regie Musik 1 mit dem Feedback bei 0:12 hoch ziehen. Soll bis ca 0:30 frei stehen. Darüber: Sprecher 2 Eddie Shaw (aus dem Buch „Black Monk Time“) Eines Nachts stieß Roger mich auf dem Weg von der Bühne zum Umkleideraum an. „Die beiden Typen da, die habe ich schon ein paar Mal hier gesehen.“ Ich guckte rüber. „Du meinst die beiden in den Geschäftsanzügen? Sind mir auch aufgefallen. Normale Fans sind das nicht.“ Am nächsten Abend luden uns die beiden Männer in einer Pause zwischen zwei Sets zu sich an den Tisch ein. Nachdem wir uns vorgestellt hatten, sagte der Kleinere der beiden, der mit dem blonden Raspelschnitt: „Ich bin Walther, und mein Kollege heißt Karl.
    [Show full text]
  • Rock in the Reservation: Songs from the Leningrad Rock Club 1981-86 (1St Edition)
    R O C K i n t h e R E S E R V A T I O N Songs from the Leningrad Rock Club 1981-86 Yngvar Bordewich Steinholt Rock in the Reservation: Songs from the Leningrad Rock Club 1981-86 (1st edition). (text, 2004) Yngvar B. Steinholt. New York and Bergen, Mass Media Music Scholars’ Press, Inc. viii + 230 pages + 14 photo pages. Delivered in pdf format for printing in March 2005. ISBN 0-9701684-3-8 Yngvar Bordewich Steinholt (b. 1969) currently teaches Russian Cultural History at the Department of Russian Studies, Bergen University (http://www.hf.uib.no/i/russisk/steinholt). The text is a revised and corrected version of the identically entitled doctoral thesis, publicly defended on 12. November 2004 at the Humanistics Faculty, Bergen University, in partial fulfilment of the Doctor Artium degree. Opponents were Associate Professor Finn Sivert Nielsen, Institute of Anthropology, Copenhagen University, and Professor Stan Hawkins, Institute of Musicology, Oslo University. The pagination, numbering, format, size, and page layout of the original thesis do not correspond to the present edition. Photographs by Andrei ‘Villi’ Usov ( A. Usov) are used with kind permission. Cover illustrations by Nikolai Kopeikin were made exclusively for RiR. Published by Mass Media Music Scholars’ Press, Inc. 401 West End Avenue # 3B New York, NY 10024 USA Preface i Acknowledgements This study has been completed with the generous financial support of The Research Council of Norway (Norges Forskningsråd). It was conducted at the Department of Russian Studies in the friendly atmosphere of the Institute of Classical Philology, Religion and Russian Studies (IKRR), Bergen University.
    [Show full text]
  • Feature • Haunted Cave------West Lafayette and Bloomington
    --------------Feature • Karen Lenfestey ------------- Dramatic License Patrick Boylen a personal tragedy, he claims he’s ready to parent the daughter he abandoned five years Deep-thinking local author Karen Len- ago. Joely is more interested in Dalton, a festey writes about ordinary people who devoted father to his own son who offers to deal with extraordinary circumstances. She’s take care of her the way no man ever has. currently based out of Fort Wayne, but over Should Joely risk her daughter bonding with the years Lenfestey has made her home all someone new or with the man who broke her over the state, including Valparaiso, Goshen, heart? Kate and Joely must re-adjust their --------------- Feature • Haunted Cave -------------- West Lafayette and Bloomington. She says vision of what happiness looks like in order she started writing as a child for therapeutic to move on.” purposes. On the Verge, Lenfestey’s third book, is “When my parents would send me to my another story with a horrendously perplex- room (probably for something my brother ing dilemma. Early into their marriage, the did), I would write to entertain my- Eddie’s Got the Munchies self.” Lenfestey’s first book, A Sister’s By Mark Hunter Promise, has sold remarkably well. It’s sequel, What Happiness Looks Like, Think you’re brave? Then take a trip garnered great reviews and was listed through Fort Wayne’s Haunted Cave, a as a “Strong Pick” by Midwest Book place to test your mettle and scream your Review. When a childhood punish- lungs out. It’s okay to scream in the Haunted ment results in a career as a successful Cave.
    [Show full text]
  • 2011 – Cincinnati, OH
    Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers.
    [Show full text]
  • Queens of the Stone Age: Songs for the Deaf Free
    FREE QUEENS OF THE STONE AGE: SONGS FOR THE DEAF PDF none | 128 pages | 05 Dec 2002 | Music Sales Ltd | 9780711997202 | English | London, United Kingdom Queens Of The Stone Age - Songs For The Deaf | Discogs It features Dave Grohl of Nirvana and Foo Fighters on drums, [5] alongside other guest musicians, and was the last Queens album to feature Nick Oliveri on bass. Songs for the Deaf is a loose concept Queens of the Stone Age: Songs for the Deaftaking the listener on a drive through the California desert from Los Angeles to Joshua Treetuning into radio stations from towns along the way such as Banning and Chino Hills. Songs for the Deaf received critical acclaim, and earned the band their first gold certification in the United States. One million copies were sold in Europe, earning a platinum certification from the International Federation of the Phonographic Industry in He replaced drummer Gene Trautmannwho started working on other projects. Grohl had admired Queens of the Stone Age since they opened for Foo Fighters, and had wanted to appear on their previous album Rated R. Grohl admitted that he had not drummed for a long time and added that fronting a band was "tiring". He returned to Foo Fighters soon after, with Danzig drummer Joey Castillo announced as his replacement in August The album also included the first musical contribution to a Queens of the Stone Age album by multi-instrumentalists Natasha Shneider and Alain Johannes. Another change in personnel came with the arrival of producer Eric Valentinewho had previously worked on a pair of Dwarves albums with Oliveri.
    [Show full text]
  • Queens of the Stone Age Are: Joshua Homme, Troy Van Leeuwen, Dean Fertita, Michael Shuman
    Queens of the Stone Age are: Joshua Homme, Troy Van Leeuwen, Dean Fertita, Michael Shuman …Like Clockwork Release date June 4th, 2013 (US) LABEL • …Like Clockwork is the first QOTSA release with new label partner, Matador Records – which is part of the Beggars Group, the largest independent label group in the world. PRODUCTION • …Like Clockwork was recorded at Joshua Homme’s Pink Duck Studios in Burbank, CA • All Songs produced by Joshua Homme and QOTSA except …Like Clockwork, produced by Joshua Homme and James Lavelle • Engineered by Mark Rankin, with additional engineering by Alain Johannes and Justin Smith • All songs mixed by Mark Rankin, except “Fairweather Friends” mixed by Joe Barresi • All lyrics by Joshua Homme • Mastered by Gavin Lurssen of Lurssen Mastering, Los Angeles, CA ADDITIONAL PERFORMERS • DRUMMERS Joey Castillo, Dave Grohl, Jon Theodore o After Joey left the band, Dave came in to play on the remaining songs. § Joey Castillo performs on “Keep Your Eyes Peeled” - “ I Sat by the Ocean” - “The Vampyre of Time and Memory”- “Kalposia” § Dave Grohl performs on “My God Is The Sun” - “If I Had a Tail” - “Smooth Sailing” “Fairweather Friends” - “I Appear Missing” § Jon Theodore is the new touring drummer of QOTSA, and performs on “…Like Clockwork” • Jake Shears (Scissor Sisters) appears on “Keep Your Eyes Peeled” o Homme has previously worked with the front man by appearing as the spokesperson in an infomercial for the Scissor Sisters 2012 release “Magic Hour” http://youtu.be/aw60b-wk9MA • Mark Lanegan, Nick Oliveri and Alex
    [Show full text]
  • The Formal and Contextual Relation of Typographic and Visual Elements of Pj Harvey Album Covers
    THE FORMAL AND CONTEXTUAL RELATION OF TYPOGRAPHIC AND VISUAL ELEMENTS OF PJ HARVEY ALBUM COVERS Cinla Seker The aim of this research is to determine 21st century’s formal and contextual design solutions with the guidance of graphic design principles by analyzing design products. Twenty-nine times nominated and six times winner for the international worldwide music awards Pj Harvey’s eight alternative rock studio album covers have chosen; Dry (1992), Rid of Me (1993), To Bring You My Love (1995), Is this Desire?(1998), Stories from the City, Stories from the Sea (2000), Uh Huh Her (2004), White Chalk (2007), Let England Shake (2011).Graphic design as a design discipline in special means determining the formals of a 2d before production process according to the context. Album covers are one of the many graphic design products of 21st century. With the help of an album cover the artist reflects an audial expression visually. For a successful visualization some graphic design principles should have been considered by the designers. Design principles are the guides of organizing elements like visuals, typography and color. In this research five design principles are looked for; unity/harmony, balance, hierarchy, scale/proportion, dominance/emphasis and, similarity and contrast. On Pj Harvey’s album covers it is determined that every five of these principles were considered by the graphic designer during the design process as outlined. INTRODUCTION ............................................................................................ 750 I. ALBUM COVERS AS A GRAPHIC DESIGN PRODUCT................................... 751 A. Analysis of Pj Harvey Album Covers........................................ 752 CONCLUSION ............................................................................................... 757 INTRODUCTION Formal and functional features determination process called the design.
    [Show full text]