WXRK Studios, New York, NY November 22, 1992

Total Page:16

File Type:pdf, Size:1020Kb

WXRK Studios, New York, NY November 22, 1992 Presented by DJs Vin Scelsa and Dave Herman featuring: Marshall Crenshaw - lead vocals, guitar Joey Ramone - vocals Andy Shernoff - acoustic guitar Max Weinberg - drums Dan Federicci - organ Clarence Clemons - saxophone WXRK Studios, New York, NY Gary Tallent - bass Idiot’s Delight Rent Party Jimmy Vivino - lead guitar, vocals November 22, 1992 Don Dixon - guitar Jules Shear - vocals Presented by Joe Delia - keyboards DJs Vin Scelsa and Dave Herman Joyce Bowden - background vocals Catherine Russell - background vocals Marshall Crenshaw Joey Ramone Thanks to kingrue for sharing the show at The Traders' Den. Andy Shernoff Max Weinberg kingrue noted: Dan Federicci I'm really happy and proud to be releasing this... You guys and gals are gonna lose Clarence Clemons your minds when you hear what's in the set list! We've got Marshall Crenshaw backed by The E Street Band [Ed: Practically!], along with an array of others. The Gary Tallent late Joey Ramone of the Ramones is here and sings a few songs. People are calling Jimmy Vivino in and with a $125 donation they can make a song request. This is completely unrehearsed. They're not just doing snippets and samples, they are playing the full renditions of each song. A BIG Thank You goes to Paul from Switzerland for supplying the tapes and doing the transfer and tracking on this incredible recording! Don Dixon Jules Shear Lineage: Joe Delia 92.3 K-Rock FM > 2nd generation cassette Joyce Bowden AKAI GX-W45 deck > Edirol (44.1) Cool Edit Pro (tracking) > TLH [SB's aligned] Flac level 8 Catherine Russell MP3 Version Disc 1 Disc 2 1992 York New and Friends Marshall Crenshaw 01 intro 1:24 01 Ain’t Too Proud To Beg 02 Sunshine Superman (Donovan) 6:36 (The Temptations) 3:49 03 Don’t Let Me Down (The Beatles) 5:59 02 Havin’ A Party (Sam Cooke) 6:38 04 Somewhere Over The Rainbow 03 Pink Cadillac (Bruce Springsteen) 4:19 (Judy Garland) 4:47 04 You’re A Friend Of Mine 05 Stray Cat Blues (The Rolling Stones) 4:11 (Jackson Browne) 6:29 06 Go Your Own Way (Fleetwood Mac) 4:49 05 Knockin’ On Heaven’s Door 07 Crazy (Willie Nelson) 3:25 (Bob Dylan) 4:59 08 The Lion Sleeps Tonight (The Tokens) 6:52 06 Censorshit (The Ramones) 5:02 09 Route 66 (King Cole Trio) 3:34 07 Tired Of Waiting For You (The Kinks) 3:31 10 Dear Prudence (The Beatles) 2:07 08 Truckin’ (Grateful Dead) 5:49 11 Rock Around The Clock 09 Whole Lotta Love (Bill Haley & His Comets) 5:22 (Led Zeppelin/Willie Dixon) 5:29 12 Bright Lights Big City (Jimmy Reed) 3:15 10 Splish Splash (Bobby Darin) 5:10 13 I Fought The Law (The Crickets) 2:47 11 We’ve Got To Stay Together 4:55 14 Someday Someway 12 Somewhere Down The Line (Marshall Crenshaw) 4:55 (Marshall Crenshaw) 5:50 15 Piece Of My Heart (Janis Joplin) 4:04 13 Younger Girl (The Lovin’ Spoonful) 2:41 16 Draft Dodger Rag (Pete Seeger) 1:48 14 I Wanna Be Sedated (The Ramones) 2:24 17 And I Love Her (The Beatles) 2:54 15 Soul Serenade (Willie Mitchell) 4:34 18 Funky Broadway (Wilson Pickett) 3:09 16 Poison Heart (The Ramones) 4:42 Marshall Crenshaw and Friends New York 1992 York New and Friends Marshall Crenshaw 19 Baby I Love You (The Ronettes) 3:48 17 I Won’t Let It Happen (The Ramones) 2:32 76 mins 79 mins Naughty Dog Trade Freely. Not For Sale. Naughty Dog.
Recommended publications
  • The Dictators Reviews
    The Great Dictators | Arts | The Harvard Crimson 5/11/12 8:40 PM NEWS OPINION MAGAZINE SPORTS ARTS MEDIA FLYBY ABOUT US ADVERTISING TWITTER FACEBOOK RSS MOBILE SUBSCRIBE CLASSIFIEDS CAMBRIDGE, MA WEATHER: 44F The Great Dictators MOST READ By PETEY E. MENZ, CRIMSON STAFF WRITER 1. The Fallacy of Tuna Fish Economics Published: Thursday, April 05, 2012 2. The Delphic Renamed "The Dolphin" 3. Letter: What PBK Really Means 2 retweet 2 retweet 1 COMMENT EMAIL PRINT 4. Shielding the Vomlet 2 retweet 5. Alexander J. P. Kunkel '12 Finding High Fidelity My punk-rock years were unexpected. I grew up an hour away from Manhattan and decades away from the mid-seventies, and there was a time when these circumstances seemed the greatest tragedy of my life. That was when I spent all of my money on records and CDs, when I spent days listening to Patti Smith and Richard Hell, when there was a thrilling sense of danger in the band names “Dead Boys” and “Sex Pistols.” Punk was about disaffection, but I loved it with unfettered and unironic enthusiasm. Every band had something distinctive to listen to, and every band was amazing for it. It was during this manic stage of exploration that I discovered the Dictators, a short-lived group of Noo Yawk punks who cheerfully endorsed hamburgers, cheesy pop hits, and the suburban lifestyle. Fourteen years after they broke up, I was born, and fourteen years after that I discovered and soon fell in love with their debut album, “Go Girl Crazy.” I had purchased the record on vinyl during my freshman year, which meant I could only listen to it in my family’s living room, where my mother’s record player was permanently installed.
    [Show full text]
  • Doing Sound Slaten Dissertation Deposit
    Doing Sound: An Ethnography of Fidelity, Temporality and Labor Among Live Sound Engineers Whitney Slaten Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Whitney Slaten All rights reserved ABSTRACT Doing Sound: An Ethnography of Fidelity, Temporality and Labor Among Live Sound Engineers Whitney Slaten This dissertation ethnographically represents the work of three live sound engineers and the profession of live sound reinforcement engineering in the New York City metropolitan area. In addition to amplifying music to intelligible sound levels, these engineers also amplify music in ways that engage the sonic norms associated with the pertinent musical genres of jazz, rock and music theater. These sonic norms often overdetermine audience members' expectations for sound quality at concerts. In particular, these engineers also work to sonically and visually mask themselves and their equipment. Engineers use the term “transparency” to describe this mode of labor and the relative success of sound reproduction technologies. As a concept within the realm of sound reproduction technologies, transparency describes methods of reproducing sounds without coloring or obscuring the original quality. Transparency closely relates to “fidelity,” a concept that became prominent throughout the late nineteenth, twentieth, and twenty-first centuries to describe the success of sound reproduction equipment in making the quality of reproduced sound faithful to its original. The ethnography opens by framing the creative labor of live sound engineering through a process of “fidelity.” I argue that fidelity dynamically oscillates as struggle and satisfaction in live sound engineers’ theory of labor and resonates with their phenomenological encounters with sounds and social positions as laborers at concerts.
    [Show full text]
  • John Bailey Randy Brecker Paquito D'rivera Lezlie Harrison
    192496_HH_June_0 5/25/18 10:36 AM Page 1 E Festival & Outdoor THE LATIN SIDE 42 Concert Guide OF HOT HOUSE P42 pages 30-41 June 2018 www.hothousejazz.com Smoke Jazz & Supper Club Page 17 Blue Note Page 19 Lezlie Harrison Paquito D'Rivera Randy Brecker John Bailey Jazz Forum Page 10 Smalls Jazz Club Page 10 Where To Go & Who To See Since 1982 192496_HH_June_0 5/25/18 10:36 AM Page 2 2 192496_HH_June_0 5/25/18 10:37 AM Page 3 3 192496_HH_June_0 5/25/18 10:37 AM Page 4 4 192496_HH_June_0 5/25/18 10:37 AM Page 5 5 192496_HH_June_0 5/25/18 10:37 AM Page 6 6 192496_HH_June_0 5/25/18 10:37 AM Page 7 7 192496_HH_June_0 5/25/18 10:37 AM Page 8 8 192496_HH_June_0 5/25/18 11:45 AM Page 9 9 192496_HH_June_0 5/25/18 10:37 AM Page 10 WINNING SPINS By George Kanzler RUMPET PLAYERS ARE BASI- outing on soprano sax. cally extroverts, confident and proud Live 1988, Randy Brecker Quintet withT a sound and tone to match. That's (MVDvisual, DVD & CD), features the true of the two trumpeters whose albums reissue of a long out-of-print album as a comprise this Winning Spins: John Bailey CD, accompanying a previously unreleased and Randy Brecker. Both are veterans of DVD of the live date, at Greenwich the jazz scene, but with very different Village's Sweet Basil, one of New York's career arcs. John has toiled as a first-call most prominent jazz clubs in the 1980s trumpeter for big bands and recording ses- and 1990s.
    [Show full text]
  • Jews, Punk and the Holocaust: from the Velvet Underground to the Ramones – the Jewish-American Story
    Popular Music (2005) Volume 24/1. Copyright © 2005 Cambridge University Press, pp. 79–105 DOI:10.1017/S0261143004000315 Printed in the United Kingdom Jews, punk and the Holocaust: from the Velvet Underground to the Ramones – the Jewish-American story JON STRATTON Abstract Punk is usually thought of as a radical reaction to local circumstances. This article argues that, while this may be the case, punk’s celebration of nihilism should also be understood as an expression of the acknowledgement of the cultural trauma that was, in the late 1970s, becoming known as the Holocaust. This article identifies the disproportionate number of Jews who helped in the development of the American punk phenomenon through the late 1960s and 1970s. However, the effects of the impact of the cultural trauma of the Holocaust were not confined to Jews. The shock that apparently civilised Europeans could engage in genocidal acts against groups of people wholly or partially thought of by most Europeans as European undermined the certainties of post-Enlightenment modernity and contributed fundamentally to the sense of unsettlement of morals and ethics which characterises the experience of postmodernity. Punk marks a critical cultural moment in that transformation. In this article the focus is on punk in the United States. We’re the members of the Master Race We don’t judge you by your face First we check to see what you eat Then we bend down and smell your feet (Adny Shernoff, ‘Master Race Rock’, from The Dictators’ The Dictators Go Girl Crazy! [1975]) It is conventional to distinguish between punk in the United States and punk in England; to suggest, perhaps, that American punk was more nihilistic and English punk more anarchistic.
    [Show full text]
  • Whiskey Strings Tour
    K k ROCKTOBER 2017 K g VOL. 29 #9 H WOWHALL.ORGk artist, and newly graduated with (Sara Bareilles, Tori Amos) and a Bachelors of Music Composition Benny Cassette (Kanye West) in from Cornish College of the Arts, 2014. Her smash single “Secrets” she had begun to establish herself launched to No. 1 on the Billboard MARY around the Seattle area performing Dance charts, and was certified slam poetry and fusing a talk- RIAA Gold in 2015. The New singing style into her intimate York Times called her debut album performances. She received a “refreshing and severely personal.” LAMBERT phone call from a friend who was All though the success, Mary working with Macklemore and had her inner struggles. Ryan Lewis on their debut album Lambert was raised in an The Heist. Macklemore and Lewis abusive home, attempted suicide IS A were struggling to write a chorus at 17, turned to drugs and alcohol for their new song, a marriage- before being diagnosed with equality anthem called “Same bipolar disorder, and survived Love”. Lambert had three hours multiple sexual assaults throughout BABE to write the hook, and the result her childhood. With that list of was the transcendent and beautiful horrors, you wouldn’t expect Mary chorus to Macklemore & Ryan to be disarmingly joyful, but she (AND SO ARE YOU) Lewis’ triple-platinum hit “Same charms effortlessly, and the effect Love”, which Lambert wrote from on her audience is bewitching. her vantage point of being both a She describes her performances Christian and a lesbian. as, “safe spaces where crying is Writing and singing the hook encouraged.” Mary Lambert says, led to two Grammy nominations “My entire prerogative is about for “Song Of The Year” and connection, about being present, By Maya Vagner Mal Blum.
    [Show full text]
  • Rolling Stone
    Fab Faux Meet the Beatles New York combo is the greatest Beatles cover band – without the wigs Not your average cover band Photo by: Josh Rothstein One day in early 1998, Jimmy Vivino, guitarist and arranger for the Max Weinberg 7, the house band on Late Night With Conan O'Brien, ran into his neighbor Will Lee, bassist for Paul Shaffer's CBS Orchestra on Late Show With David Letterman, in the elevator of their Manhattan apartment building. "We were going to our shows," Vivino says, "and Will goes, 'Hey, I'm starting a Beatles cover band.' The first thing I said was 'Why? There are plenty of Beatles tribute bands out there.'" "Then I realized he was serious," Vivino recalls. "He said, 'I'm not talking about that. I'm talking about the way classical musicians start a chamber orchestra to play Mozart. I'm talking about playing the Beatles' songs and records live, as perfectly as we can.' I said, 'Without the wigs?'" Lee's reply was quick: "Sure." Seven years later, the Fab Faux -- Lee, Vivino, guitarist Frank Agnello, drummer Rich Pagano and multi-instrumentalist Jack Petruzzelli, all of whom sing lead and harmony vocals -- are the most accomplished band in the Beatles-cover business. Since debuting at New York's China Club in May 1998, the Fab Faux have mastered and played more than 160 of the 211 songs in the official canon -- according to Agnello, the Faux's resident Beatles statistician -- and most are complex hits and post-'65 LP tracks the Beatles never performed in concert.
    [Show full text]
  • Cabrera Owns a Distinctive Singing Voice and His
    FELIX “Cabrera owns a distinctive singing voice and his harmonica playing has a depth of character forged CABRERAout of influences Little Walter and James Cotton“ BAND“ - Frank Hadley, Downbeat “ Cabrera taught himself the blues harp by playing along to the radio and formed his first band by 1968. But he didn't abandon his Latin roots. "The first time I blew a harp over Latin music was over (Eddie) Palmieri's "Azucar," he recalls. "It's the same music. The same slaves that landed in Cuba landed here too. So when it comes down to blowing a blues, I can do it over a chan-chan just as easily. by Tom Pryor in Global Rhythm magazine and many others. Felix was the inaugural act at 2012 they recorded “Jimmy Vivino and the Black NYC’s Manny’s Car Wash blues club and he Italians – 13 Live” at Levon Helm’s Ramble in felix cabrera performed on the NPR program, Blues Stage, Woodstock, NY featuring Felix on several tracks. was born in La Habana, Cuba. He came to the hosted by Ruth Brown. They also performed on the Conan TV show and U.S. at a very young age and quickly got hooked headlined the 2014 King Biscuit Blues Festival in on rock, blues, R&B and soul music. He played In the early 90’s, Felix’s first album, NEXT!, was Helena, Arkansas. with various bands and in 1974, formed the A released in Europe. In the late 90’s, Felix joined Train Blues Band with Arthur Neilson. The band Jimmy Vivino and the Black Italians.
    [Show full text]
  • Your World, Our Beat; Now You Know! Westchestertimestribune.Typepad.Com Complimentary an Attitude Adjustment Forest City Ratner Breaks Ground On
    Spiezio vs Chanukah Operation Safe Page 4 Roadway Page 5 Restiano Page 9 VWESTCHESTERo l u m e 2 • Nu m b e r 66 TIMES TRIBUNEDECEMBER 06, 2007 Your World, Our Beat; Now You Know! WestchesterTimesTribune.Typepad.com Complimentary An Attitude Adjustment Forest City Ratner Breaks Ground on By Henry J. Stern As a post-Thanksgiving gift, to important events: Ridge Hill in Yonkers Governor Spitzer received modified, “On a Tuesday morning early this By Hezi Aris limited absolution today on the front month, Gov. Eliot Spitzer and his page of the New York Times. The closest aides gathered at his country story appeared below a delicately lit estate in Columbia County, N.Y., picture that resembled a painting by to review the administration’s first one of the Dutch masters of the 17th year. Hours passed before someone Century. The governor is posed in asked the question on everyone’s serious thought, his brow furrowed mind: Should Mr. Spitzer drop his and his right hand on his chin. The plan to give driver’s licenses to background is a full length portrait illegal immigrants?” of one of Spitzer’s predecessors as We quote paragraphs seven and governor, Theodore Roosevelt. The eight: “Coming after a summer of foreground is a hulking unidentified scandals and other stumbles, the man, possibly posing a question. New York Civic long and ultimately futile battle Above the picture, at the top of the over driver’s licenses has left three-column display, is an italicized Confessore, which jumps from many people pondering the same quote from Spitzer: “There’s an art the top of page one and, with simple question: Does Eliot Spitzer there that I would like to be more supporting data, occupies all of have the judgment to succeed as successful at.” The fact that he ended pA28.
    [Show full text]
  • Relacion De Articulos Ordenados
    Artículos ordenados por autor (1985-2009) Grupo / artículo / nº de revista / página / mes / año ??? ALBERT COLLINS - In memoriam - nº 94, pag 19, Abril-1994 ANDY SHERNOFF - Fotomatón - nº 134, pag 11, Diciembre-1997 ÁNGEL ALTOLAGUIRRE - Fotomatón - nº 129, pag 16, Junio-1997 BEN VAUGHN - Fotomatón - nº 140, pag 15, Junio-1998 BOMBARDEROS - Munición pesada - nº 29, pag 14, Mayo-1988 BUDDY HOLLY - Buddy - nº 51, pag 14, Mayo-1990 BYRDS - Pájaros empapelados - nº 47, pag 15, Enero-1990 CALVIN JOHNSON - Fotomatón - nº 127, pag 16, Abril-1997 CARL PERKINS - Rockabilly magnetoscopico - nº 29, pag 13, Mayo-1988 CHUCK BERRY - Brown eyed handsome man - nº 22, pag 5, Octubre-1987 COME - Total Blackout - nº 119, pag 13, Julio/Agosto-1996 DEAN WAREHAM - Fotomatón - nº 133, pag 16, Noviembre-1997 DUANE ALLMAN - Lo que el viento se llevó - nº 173, pag 48, Junio-2001 ELLIOT SHARP - Trigonometría musical - nº 33, pag 14, Octubre-1988 ERNESTO PRIBATA - Fotomatón - nº 141, pag 17, Julio/Agosto-1998 EXTRAÑOS AQUÍ - Esperanza malagueña - nº 38, pag 64, Marzo-1989 FANG - Fotomatón - nº 144, pag 8, Noviembre-1998 FLECHAZOS - Examen de conciencia - nº 34, pag 14, Noviembre-1988 FLECHAZOS - Fotomatón - nº 131, pag 16, Septiembre-1997 FLORES DEL MAL - Disparos botánicos - nº 30, pag 12, Junio-1988 FRANK BLACK - Fotomatón - nº 150, pag 12, Mayo-1999 FUZZTONES - Fuzzin' All Over Spain - nº 28, pag 12, Abril-1988 GEMA SUBTERFUGE - Fotomatón - nº 132, pag 16, Octubre-1997 HANK - Fotomatón - nº 151, pag 16, Junio-1999 HOWARD DEVOTO - Devoción lujuriosa - nº 52, pag 12, Junio-1990 IAN SVENONIOUS - Fotomatón - nº 138, pag 11, Abril-1998 J.P.S.
    [Show full text]
  • 01/13/2008 - Playing with the Big Boys Page 1 of 2
    Daily Freeman - People & Events - 01/13/2008 - Playing with the big boys Page 1 of 2 01/13/2008 Playing with the big boys By KATE HEIDECKER , Correspondent Twelve-year-old musician Myles Mancuso is almost a decade below the legal drinking age, but that doesn't stop the pre-teen from wowing live audiences at bars and nightclubs across the Mid-Hudson Valley and Manhattan. Starting Feb. 1, the Dutchess County resident will be performing the first Friday of every month at Keegan Ales, 20 Saint James St., Kingston, a James Street brewery known for its raucously fun music and down-home style. Playing music for adults twice his age doesn't intimidate Myles, however. "My motto is the more they drink the better I sound," said Myles, who moves fluidly from the guitar, piano, bass and saxophone during his performances. The product of a musical household, Myles said one of his first memories was jamming to James Brown in his living room. "I would watch tapes of James Myles Mancuso. (Photo provided) Brown and Ray Charles," he said. "I just loved their music." The blues greats are still among Myles' favorite musicians. Now, he also enjoys King Curtis, Albert Collins and Freddie King. However, he isn't impressed by contemporary artists. Fergie of the Black Eyed Peas, a favorite of his peers in the tween age group, isn't winning any popularity contests with him. "She does her music and I do mine. I don't want to put anyone down," says Myles when asked to weigh in on the pop- phenom.
    [Show full text]
  • Andy Shernoff Articles
    SEARCH ANDY SHERNOFF OF THE DICTATORS MEETS THE ZOMBIE JEW 10.24.2011 05:02 pm Topics: Amusing Belief Hysteria Kooks Music Punk Tags: Andy Shernoff Are You Ready To Rapture Ace musician, producer, founding member of The Dictators and Dangerous Minds’ friend Andy Shernoff has a new Youtube video and it’s a winner. Andy shared with DM the history and inspiration behind the making of Are You Ready To Rapture: I grew up in New York City so the only people I knew who believed that Jesus was actually going to fly down from the sky were mentally ill preachers screaming their lungs out in what was then a very seedy Times Square. I had no idea how widespread this revenge fantasy called the Rapture was until a few years ago. I had the phrase Jewish Zombie rolling through my brain and wanted to incorporate it into a song. I developed a fascination with Christian eschatology and researched it extensively. I wanted everything in the The last known recording of Lennon & song to accurately represent what these knuckleheads believe. It McCartney: ‘A Toot and a Snore in ‘74’ took a few months and I probably wrote 25 verses until I had three with the right combination of drama, truth and sarcasm. Gorgeous psychedelic handbills and posters I felt the best way to communicate the song was with a cartoon. I met from Detroit’s Grande Ballroom, circa 1967‑68 Brian Musikoff through a mutual friend and he was the only person considered after I saw his animation for a Patton Oswalt’s comedy routine, ‘Christmas Shoes’.
    [Show full text]
  • The White Noise Supremacists” (From the Village Voice, 1979)
    LESTER BANGS “The White Noise Supremacists” (from the Village Voice, 1979) The other day I was talking on the phone with a friend who hangs out on the CBGB's scene a lot. She was regaling me with examples of the delights available to females in the New York subway system. "So the train came to a sudden halt and I fell on my ass in the middle of the car, and not only did nobody offer to help me up but all these boons just sat there laughing at me." "Boons?" I said. "What's boons?" "You know," she said. "Black guys." "Why do you call them that?" "I dunno. From `baboons,' I guess." I didn't say anything. "Look, I know it's not cool," she finally said. "But neither is being a woman in this city. Every fucking place you go you get these cats hassling you, and sometimes they try to pimp you. And a lot of the times when they hassle you they're black, and when they try to pimp me they're always black. Eventually you can't help it, you just end up reacting." Sometimes I think nothing is simple but the feeling of pain. When I was first asked to write this article, I said sure, because the racism (not to mention the sexism, which is even more pervasive and a whole other piece) on the American New Wave scene had been something that I'd been bothered by for a long time. When I told the guys in my own band that I was doing this, they just laughed.
    [Show full text]