P&C Music Rsd18 Picklist Shop Version Updated 8 April 2019
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
The History of Rock, a Monthly Magazine That Reaps the Benefits of Their Extraordinary Journalism for the Reader Decades Later, One Year at a Time
L 1 A MONTHLY TRIP THROUGH MUSIC'S GOLDEN YEARS THIS ISSUE:1969 STARRING... THE ROLLING STONES "It's going to blow your mind!" CROSBY, STILLS & NASH SIMON & GARFUNKEL THE BEATLES LED ZEPPELIN FRANK ZAPPA DAVID BOWIE THE WHO BOB DYLAN eo.ft - ink L, PLUS! LEE PERRY I B H CREE CE BEEFHE RT+NINA SIMONE 1969 No H NgWOMI WI PIK IM Melody Maker S BLAST ..'.7...,=1SUPUNIAN ION JONES ;. , ter_ Bard PUN FIRS1tintFaBil FROM 111111 TY SNOW Welcome to i AWORD MUCH in use this year is "heavy". It might apply to the weight of your take on the blues, as with Fleetwood Mac or Led Zeppelin. It might mean the originality of Jethro Tull or King Crimson. It might equally apply to an individual- to Eric Clapton, for example, The Beatles are the saints of the 1960s, and George Harrison an especially "heavy person". This year, heavy people flock together. Clapton and Steve Winwood join up in Blind Faith. Steve Marriott and Pete Frampton meet in Humble Pie. Crosby, Stills and Nash admit a new member, Neil Young. Supergroups, or more informal supersessions, serve as musical summit meetings for those who are reluctant to have theirwork tied down by the now antiquated notion of the "group". Trouble of one kind or another this year awaits the leading examples of this classic formation. Our cover stars The Rolling Stones this year part company with founder member Brian Jones. The Beatles, too, are changing - how, John Lennon wonders, can the group hope to contain three contributing writers? The Beatles diversification has become problematic. -
Austinmusicawards2017.Pdf
Jo Carol Pierce, 1993 Paul Ray, Stevie Ray Vaughan, and PHOTOS BY MARTHA GRENON MARTHA BY PHOTOS Joe Ely, 1990 Daniel Johnston, Living in a Dream 1990 35 YEARS OF THE AUSTIN MUSIC AWARDS BY DOUG FREEMAN n retrospect, confrontation seemed almost a genre taking up the gauntlet after Nelson’s clashing,” admits Moser with a mixture of The Big Boys broil through trademark inevitable. Everyone saw it coming, but no outlaw country of the Seventies. Then Stevie pride and regret at the booking and subse- confrontational catharsis, Biscuit spitting one recalls exactly what set it off. Ray Vaughan called just prior to the date to quent melee. “What I remember of the night is beer onto the crowd during “Movies” and rip- I Blame the Big Boys, whose scathing punk ask if his band could play a surprise set. The that tensions started brewing from the outset ping open a bag of trash to sling around for a classed-up Austin Music Awards show booking, like the entire evening, transpired so between the staff of the Opera House, which the stage as the mosh pit gains momentum audience visited the genre’s desired effect on casually that Moser had almost forgotten until was largely made up of older hippies of a Willie during “TV.” the era. Blame the security at the Austin Stevie Ray and Jimmie Vaughan walked in Nelson persuasion who didn’t take very kindly About 10 minutes in, as the quartet sears into Opera House, bikers and ex-Navy SEALs from with Double Trouble and to the Big Boys, and the Big “Complete Control,” security charges from the Willie Nelson’s road crew, who typical of the proceeded to unleash a dev- ANY HISTORY OF Boys themselves, who were stage wings at the first stage divers. -
FOSIL News & Views 25Th February 2021
FOSIL News & Views 25th February 2021 [email protected] Medici.tv Cornwall Libraries is now subscribing allowing free access to all library members for this Classical genre resource. Please have a look and share with friends, family and library members. This will be promoted via the Cornwall Libraries web page and social media platforms, with the service declaring they are ‘delighted to provide another resource for our customers – especially during this current lockdown’. Follow the link for more information and access: https://connect.liblynx.com/wayfless/medicitv?lcard=cornwall Medici.tv only needs a library card number for permitted access – no downloading or registration needed. You can watch live events and recorded Operas, Ballets, Concerts, Documentaries and Masterclasses from around the world. Why not give it a try and let us know your thoughts? Malcolm Price (1939-2017) - forgotten first beatnik folk musician in Cornwall Acknowledged as the first beatnik folk musician to visit Cornwall by veteran folkie Wizz Jones, Malcolm Price is almost forgotten these days. He was a pioneer of the flatpicking style of guitar in the UK and a huge fan of what we would call ‘Americana’ today, especially its early country roots. Melody Maker called him “the champion of old-timey music” and he was an inspiration to many. Malcolm started his musical journey on harmonica, but this was soon traded for a guitar and he joined the new skiffle craze of the mid-fifties, playing in clubs around Kent. In 1957 he witnessed Ramblin’ Jack Elliott and Derroll Adams at the Blues and Barrelhouse Club, Soho, run by Alexis Korner and Cyril Davies. -
Giving America Back the Blues
GIVING AMERICA BACK THE BLUES OVERVIEW ESSENTIAL QUESTION How did the early Rolling Stones help popularize the Blues? OVERVIEW The Rolling Stones ultimately made their mark as the nonconformist outlaws of Rock and Roll. But before they were bad boys, the Stones were missionaries of the Blues. The young Rolling Stones — Mick Jagger, Keith Richards, Brian Jones, Charlie Watts, and Bill Wyman — were white kids who hailed from working- and middle-class Britain and set out to play American music, primarily that of African Americans with roots in the South. In so doing, they helped bring this music to a new, largely white audience, both in Britain and the United States. The young men who formed the Rolling Stones emerged from the club scene fostered by British Blues pioneers Cyril Davies and Alexis Korner. These two men and their band, Blues Incorporated, helped popularize the American Blues, whose raw intensity resonated with a generation of Britons who had grown up in the shadow of war, death, the Blitz, postwar rationing, and the hardening of the Cold War standoff. Much of the Stones’ early work consisted of faithful covers of American Blues artists that Davies, Korner, and the Stones venerated: Muddy Waters, Howlin’ Wolf, Slim Harpo, Jimmy Reed. The early Stones in particular helped make the Blues wildly popular among young Britons. As the Stones’ fame grew and they became part of the mid-1960s British “invasion” of America, they also reintroduced the Blues to American listeners, most notably young, white audiences with limited exposure to the music. But almost from day one, the Stones were more than a Blues cover band. -
Song List for Bandaoke
AMV Live Music BANDAOKE RULES FOR BANDAOKE 1. Choose your song – If someone else performs it, try and find another one 2. Write YOUR name and chosen song on a request slip – NO SLIP, NO SONG 3. Give the slip to the Band 4. When you are called to the stage SING YOUR ASS OFF!!! 5. If you want more than 2 on stage at one time, check with the band first • All lyrics are on stage in a file • The band will follow you as best they can SONG LIST FOR BANDAOKE A Addicted to love – Robert Palmer Aint no sunshine – Bill Withers Aint Nobody – Chaka khan Alright now – Free All day and all of the night – The Kinks Amarillo – Tony Christie American Boy - Estelle American Pie – Don McClean Angels – Robbie Williams At Last – Etta James B Beat It – Michael Jackson Better Together – Jack Johnson Billie Jean – Michael Jackson Bitch – Meredith Brooks Black and Gold – Sam Sparro Black Velvet – Alannah Miles Blueberry Hill – Fats Donimo Born to be wild – Steppenwolf Breakfast at Tiffanys – Deep Blue Something Brown eyed girl – Van Morrison Brown Sugar – Rolling stones Build me up buttercup – The foundations C Can’t get enough of your love – Bad Company Can’t take my eyes of you – Andy Williams/Frank Sinatra Chasing cars – Snow Patrol Chelsea Dagger – The Fratellis Come away with me – Norah Jones Come Together – The Beatles Crazy – Gnarles Barkley Crazy little thing called love – Queen D Daydream believer – The Monkees Daytripper – The Beatles Desperado – The Eagles Dock of the bay – Otis Redding Don’t know why – Norah Jones Don’t let the sun go down on me – -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Harper, A. (2016). "Backwoods": Rural Distance and Authenticity in Twentieth- Century American Independent Folk and Rock Discourse. Samples : Notizen, Projekte und Kurzbeiträge zur Popularmusikforschung(14), This is the published version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/15578/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Online-Publikationen der Gesellschaft für Popularmusikforschung / German Society for Popular Music Studies e. V. Hg. v. Ralf von Appen, André Doehring u. Thomas Phleps www.g f pm- samples.de/Samples1 4 / harper.pdf Jahrgang 14 (2015) – Version vom 5.10.2015 »BACKWOODS«: RURAL DISTANCE AND AUTHENTICITY IN TWENTIETH-CENTURY AMERICAN INDEPENDENT FOLK AND ROCK DISCOURSE Adam Harper My recently completed PhD research (Harper 2014) has been an effort to trace a genealogy of an aesthetic within popular music discourse often known as »lo-fi.« This term, suggesting the opposite of hi-fi or high fidelity, became widely used in the late 1980s and early 1990s to describe a move- ment within indie (or alternative) popular music that was celebrated for its being recorded outside of the commercial studio system, typically at home on less than optimal or top-of-the-range equipment. -
70S Playlist 1/7/2011
70s Playlist 1/7/2011 Song Artist(s) A Song I Like to Sing K. Kristoferson/L Coolidge Baby Come Back Steve Perry Bad, Bad Leroy Brown Jim Croce Don't Stop Fleetwood Mac Father and Son Cat Stevens For my lady Moody Blues Have you seen her The Chi-Lites I Have to say I love you in a Son Jim Croce I want Love Elton John If you Remember Me Kris Kristofferson It's only Love Elvis Presley I've got a thing about you baby Elvis Presley Magic Pilot Moon Shadow Cat Stevens Operator (That's Not the Way it Jim Croce Raised on a Rock Elvis Presley Roses are Red Freddy Fender Someone Saved My Life Tonigh Elton John Steamroller Blues Elvis Presley Stranger Billy Joel We're all alone K. Kristoferson/L Coolidge Yellow River Christie Babe Styx Dancin' in the Moonlight King Harvest Solitaire The Carpenters Take a Walk on the Wild Side Lou Reed Angel of the Morning Olivia Newton John Aubrey Bread Can't Smile Without You Barry Manilow Even Now Barry Manilow Top of the World The Carpenters We've only Just Begun The Carpenters You've Got a Friend James Taylor A Song for You The Carpenters ABC The Jackson 5 After the Love has Gone Earth, Wind and Fire Ain't no Sunshine Bill Withers All I Ever Need is You Sonny and Cher Another Saturday Night Cat Stevens At Midnight Chaka Khan At Seventeen Janis Ian Baby, that's Backatcha Smokey Robinson Baby, I love Your Way Peter Frampton Band on the Run Paul McCartney Barracuda Heart Beast of Burden The Rolling Stones Page 1 70s Playlist 1/7/2011 Song Artist(s) Beautiful Sunday Daniel Boone Been to Canaan Carol King Being -
SXSW2016 Music Full Band List
P.O. Box 685289 | Austin, Texas | 78768 T: 512.467.7979 | F: 512.451.0754 sxsw.com PRESS RELEASE - FOR IMMEDIATE RELEASE SXSW Music - Where the Global Community Connects SXSW Music Announces Full Artist List and Artist Conversations March 10, 2016 - Austin, Texas - Every March the global music community descends on the South by Southwest® Music Conference and Festival (SXSW®) in Austin, Texas for six days and nights of music discovery, networking and the opportunity to share ideas. To help with this endeavor, SXSW is pleased to release the full list of over 2,100 artists scheduled to perform at the 30th edition of the SXSW Music Festival taking place Tuesday, March 15 - Sunday, March 20, 2016. In addition, many notable artists will be participating in the SXSW Music Conference. The Music Conference lineup is stacked with huge names and stellar latebreak announcements. Catch conversations with Talib Kweli, NOFX, T-Pain and Sway, Kelly Rowland, Mark Mothersbaugh, Richie Hawtin, John Doe & Mike Watt, Pat Benatar & Neil Giraldo, and more. All-star panels include Hired Guns: World's Greatest Backing Musicians (with Phil X, Ray Parker, Jr., Kenny Aranoff, and more), Smart Studios (with Butch Vig & Steve Marker), I Wrote That Song (stories & songs from Mac McCaughan, Matthew Caws, Dan Wilson, and more) and Organized Noize: Tales From the ATL. For more information on conference programming, please go here. Because this is such an enormous list of artists, we have asked over thirty influential music bloggers to flip through our confirmed artist list and contribute their thoughts on their favorites. The 2016 Music Preview: the Independent Bloggers Guide to SXSW highlights 100 bands that should be seen live and in person at the SXSW Music Festival. -
2.+ENG Dossierprensa2018.Pdf
1 THE FESTIVAL 3 LINEUP 5 PLACES 11 ORGANIZATION AND PARTNERS 12 TICKETS 14 GRAPHIC CAMPAIGN 15 PRESS QUOTES 16 CONTACT 17 2 THE FESTIVAL Primavera Sound has always concentrated all its efforts on uniting the latest musical proposals from the independent scene together with already well established artists, while embracing any style or genre in the line up, fundamentally looking for quality and essentially backing pop and rock as well as underground electronic and dance music. Over the last years, the festival has had the most diverse range of artists. Some of those who have been on stage are Radiohead, Pixies, Arcade Fire, PJ Harvey, The National, Nine Inch Nails, Kendrick Lamar, Neil Young, Sonic Youth, Portishead, Pet Shop Boys, Pavement, Echo & The Bunnymen, Lou Reed, My Bloody Valentine, Brian Wilson, Pulp, Patti Smith, Nick Cave, Cat Power, Public Enemy, Franz Ferdinand, Television, Devo, Enrique Morente, The White Stripes, LCD Soundsystem, Tindersticks, Queens of the Stone Age, She- llac, Dinosaur Jr., New Order, Fuck Buttons, Swans, The Cure, Bon Iver, The xx, Iggy & The Stooges, De La Soul, Marianne Faithfull, Blur, Wu-Tang Clan, Phoenix, The Jesus and Mary Chain, Tame Impala, The Strokes, Belle & Sebastian, Antony & the Johnsons, The Black Keys, James Blake, Interpol and Sleater-Kinney amongst many others. Primavera Sound has consolidated itself as the urban festival par excellence with unique characteristics that have projected it internationally as a reference cultural event. The event stands out from other large music events and is faithful to its original artistic idea, keeping the same standards and maintaining the same qua- lity of organization of past years, without resorting to more commercial bands. -
FINAL SALUTE Each Year We Note the Passing of Influential Creators, Performers, and Institutions
FINAL SALUTE Each year we note the passing of influential creators, performers, and institutions. These passings occurred between SoonerCon 28 and the original date for SoonerCon 29. American actress and singer Peggy Lipton passed away May 11, 2019. Her best-known acting role was as undercover cop Julie Barnes on The Mod Squad, 1968-1973. She won a new generation of fans when she ran the Double R Diner as Norma Jennings, in Twin Peaks. Doris Day was a big-band singer, TV and film actress, and talk-show host. She won several awards for comedy and popularity. She was also an activist for animal welfare, lending her star power to several organizations bearing her name. She died May 13, 2019. Domestic cat Tardar Sauce was better known as the meme she unwittingly founded: Grumpy Cat. Dwarfism contributed to her scowling face, which graced ads for Friskies and General Mills Honey Nut Cheerios. The frowning feline cashed in her lives on May 14, 2019. The career of the inspired Tim Conway began in 1962 and lasted through TV, movies, voice-overs, and video games. Among his noted appearances were the goofy Dorf; four years on McHale ‘s Navy; eleven years on The Carol Burnett Show; several solo TV shows; and as Barnacle Boy, 1999-2012, on SpongeBob SquarePants. Conway took his final bow on May 14, 2019. Born in China, I.M. Pei moved to America in 1935 and in 1948 became a professional architect. He designed the John F. Kennedy Library, which took until 1979 to complete. In 1962 he was selected by OKC’s Urban Renewal Authority to redesign our downtown. -
Car Seat Headrest with Naked Giants at MASS Moca, February 15
For Immediate Release 9 October 2018 Contact: Jodi Joseph Director of Communications 413.664.4481 x8113 [email protected] ***Media Advisory*** Car Seat Headrest with Naked Giants at MASS MoCA, February 15 Car Seat Headrest with Naked Giants Friday, February 15, 8pm Hunter Center at MASS MoCA Member Tickets on sale beginning Thursday, October 11, at 10am Tickets on sale beginning Friday, October 12, at 10am NORTH ADAMS, MASSACHUSETTS — Born out of indie pop and outsider music, Car Seat Headrest has evolved from the lo-fi homespun solo project of Will Toledo to a four-piece outfit generating intricate masterworks of pop music, drawing comparisons to everyone from the Beach Boys to Pavement. See The Internet's finest IRL, when Car Seat Headrest combines forces with Naked Giants for a night of postmodern punk, enigmatic witticisms, and irresistibly head-banging tunes Friday, February 15, at 8pm. “They are the kinds of perfect, instantly familiar pop songs that echo in the background of your dreams.” — The New Yorker This electrifying live band has been the road for the past month playing grandiose, sold-out shows in support of the recently released Twin Fantasy, the re-recorded and re-imagined return to the group’s 2011 Bandcamp classic. Full of “gleaming, raging alt-rock grandeur” dubbed “a triumph” by Pitchfork, this remastered version, previously only available physically as a Record Store Day exclusive, will now be available on all digital services on November 2nd and on vinyl on November 9th. Car Seat Headrest kicks off a run of headline tour dates in February 2019, with a stop at MASS MoCA February 15. -
The American Blues in Britain
THE AMERICAN BLUES IN BRITAIN OVERVIEW ESSENTIAL QUESTION In what ways did American Blues affect English musicians in the early 1960s? OVERVIEW “[Before the Beatles] The pop music in this country was very watery and weak, not worth talking about. Things like Cliff Richard.” – Pete Townsend of the Who on British popular music in the early 1960s This lesson looks at the Blues scene in England that prefigured the British Invasion. Though young people there were able to hear Bill Haley, Buddy Holly, the Everly Brothers, Little Richard, and other artists associated with early American Rock and Roll, the music they could call their own, British popular music, sometimes left them dissatisfied. As Pete Townsend describes in the epigraph above, he was among those who found the home offerings “watery and weak.” But if one thing marked the U.K. at that time, it was a respect for American music. Yes, for Rock and Roll -- but also for the Blues tradition. Artists who had never left the States came over to England, France, and Germany and found themselves welcomed and celebrated. American Bluesmen like Big Bill Broonzy found they could have careers in Europe when in the States they had little going on. Starting in 1962, the European interest in American Blues was fed by the American Folk Blues Festival, an annual touring festival that brought Muddy Waters, Howlin’ Wolf, Sonny Boy Williamson, and many more to European audiences intermittently over the next few decades. In the audience for those first shows were future members of the Rolling Stones, Led Zeppelin, and other major acts of the 1960s and 1970s.