Sheila Chandra Electric Psychedelic Sitar Headswirlers, Vol

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Sheila Chandra Electric Psychedelic Sitar Headswirlers, Vol

MusicalMosaicPlaylist 31621 Song Artist Album Lament of Mccrimmon (Song of the Banshee) Sheila Chandra Electric Psychedelic Sitar Headswirlers, Vol. 5 (Remastered) Ireland Maura O'Connell A Real Life Story King of the Fairies Horslips Dancehall Sweethearts (Bonus Tracks Version) Boys from the County Hell The Pogues Red Roses for Me The Star of the County Down Bap Kennedy's Energy Orchard Shinola I Am Stretched on Your Grave (2009 Remaster) Sinéad O'Connor I Do Not Want What I Haven't Got (Deluxe Version) Fee Ra Huri Omnia YouTube Celtic Ray Van Morrison & The Chieftains Irish Heartbeat Crazy Love Maura O'Connell Walls and Windows Girl from the North Country Altan The Best of Altan - The Songs In a Lifetime Clannad & Bono In a Lifetime - The Best of Clannad In God's Country U2 The Joshua Tree Birnam Jackie Joyce, Michaela Rowan & Mouth Music Mo-Di The Raggle Taggle Gypsy The Chieftains Further Down the Old Plank Road Fionnghuala The Bothy Band The Best of the Bothy Band Dulaman (2009 version) Omnia World of Omnia Factory Girl The Roches Nurds The Parting Glass The Wailin' Jennys 40 Days The Women of Ireland Alix Dobkin Yahoo Australia! Famine Sinéad O'Connor Universal Mother I Have a Love For Those I Love YouTube A Trick of the Light Villagers YouTube The Hanover Reel / John James' Reel / The Copperplate Solas Waiting For an Echo Banish Misfortune Benjy Wertheimer And Michael Mandrell Notes From Celtistan Don't Give Up Till Its Over Tommy Fleming YouTube Blessing Maura O'Connell Walls and Windows Tore Down A La Rimbaud [Live] Van Morrison The Healing Game [Deluxe Edition] [Disc 3] Sweet Thing Van Morrison Astral Weeks Into the Mystic Van Morrison Moondance Magic Nights In The Lobby Bar John Spillane Will We Be Brilliant Or What? 1.

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Miller High Life Theatre Event Advisory
ADDRESS PHONE NUMBER WEBSITE 500 W. Kilbourn Avenue, Milwaukee, WI 53203 414.908.6000 MillerHighLifeTheatre.com FOR IMMEDIATE RELEASE Sarah Maio [email protected] 414-908-6056 King Crimson Announce “Music Is Our Friend” North American Tour Dates 2021 King Crimson comes to the Miller High Life Theatre on August 31, 2021 MILWAUKEE – (June 7, 2021) – The Miller High Life Theatre and Alternative Concert Group are proud to welcome King Crimson with special guest The Zappa Band to the Miller High Life Theatre, August 31, 2021. Artist VIP presale is June 9 at 11 a.m., and venue presale is June 10th at 10 a.m. Tickets go on sale to the public Friday, June 11 at noon at the Miller High Life Theatre box office or Ticketmaster. When King Crimson returns to action this July, it will be the seventh year that the band has toured since returning to performing live in 2014, a run only interrupted by the lockdown in 2020. In that time, the audience has been reinvented, as much as the band itself, something Robert Fripp noted after the band’s performance in Pompeii, Italy’s famous amphitheater: “In Pompeii, a large percentage of the audience was young couples; KC moved into the mainstream in Italy. I walked onstage knowing that this band's position in the world has changed level.” - Robert Fripp The band’s shows regularly include material from twelve of their thirteen studio albums, including many songs from their seminal 1969 album In the Court of the Crimson King, described by Pete Townshend as an “uncanny masterpiece.” The 7-piece line-up play many historic pieces, which Crimson has never previously played live, as well as new arrangements of Crimson classics – “the music is new whenever it was written.” There are also new instrumentals and songs, as well as compositions by the three drummers, Pat Mastelotto, Gavin Harrison and Jeremy Stacey, which are a regular highlight.
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Rhythm Bones Player a Newsletter of the Rhythm Bones Society Volume 10, No
Rhythm Bones Player A Newsletter of the Rhythm Bones Society Volume 10, No. 3 2008 In this Issue The Chieftains Executive Director’s Column and Rhythm As Bones Fest XII approaches we are again to live and thrive in our modern world. It's a Bones faced with the glorious possibilities of a new chance too, for rhythm bone players in the central National Tradi- Bones Fest in a new location. In the thriving part of our country to experience the camaraderie tional Country metropolis of St. Louis, in the ‗Show Me‘ state of brother and sisterhood we have all come to Music Festival of Missouri, Bones Fest XII promises to be a expect of Bones Fests. Rhythm Bones great celebration of our nation's history, with But it also represents a bit of a gamble. We're Update the bones firmly in the center of attention. We betting that we can step outside the comfort zones have an opportunity like no other, to ride the where we have held bones fests in the past, into a Dennis Riedesel great Mississippi in a River Boat, and play the completely new area and environment, and you Reports on bones under the spectacular arch of St. Louis. the membership will respond with the fervor we NTCMA But this bones Fest represents more than just have come to know from Bones Fests. We're bet- another great party, with lots of bones playing ting that the rhythm bone players who live out in History of Bones opportunity, it's a chance for us bone players to Missouri, Kansas, Illinois, Oklahoma, and Ne- in the US, Part 4 relive a part of our own history, and show the braska will be as excited about our foray into their people of Missouri that rhythm bones continue (Continued on page 2) Russ Myers’ Me- morial Update Norris Frazier Bones and the Chieftains: a Musical Partnership Obituary What must surely be the most recognizable Paddy Maloney.
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Van Morrison and Pastoralism.Pdf
LJMU Research Online Smyth, G ‘Gardens All Wet With Rain’: Pastoralism in the Music of Van Morrison http://researchonline.ljmu.ac.uk/id/eprint/10338/ Article Citation (please note it is advisable to refer to the publisher’s version if you intend to cite from this work) Smyth, G (2019) ‘Gardens All Wet With Rain’: Pastoralism in the Music of Van Morrison. Irish University Review, 49 (1). pp. 171-187. ISSN 0021-1427 LJMU has developed LJMU Research Online for users to access the research output of the University more effectively. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LJMU Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. The version presented here may differ from the published version or from the version of the record. Please see the repository URL above for details on accessing the published version and note that access may require a subscription. For more information please contact [email protected] http://researchonline.ljmu.ac.uk/ ‘Gardens All Wet With Rain’: Pastoralism in the Music of Van Morrison Gerry Smyth Liverpool John Moores University Gesang, wie du ihn lehrst, ist nicht Begehr, nicht Werbung um ein endlich noch Erreichtes; Gesang ist Dasein. (True singing, as you teach it, does not concern desire, nor pursuing anything that can be attained; Singing is Being).
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Wonderful! 96: Quad City Neurosurgeons Published August 14th, 2019 Listen on TheMcElroy.family [theme music plays] Rachel: Hi, this is Rachel McElroy. Griffin: Hello, this is Griffin McElroy. Rachel: And this is Wonderful! Griffin: Beep beep beep. It‘s like yarp in here. Those are the machines we‘re hooked up to, checking our health, measuring our health, injecting us with… [sighs] New, clean blood, and all the stuff that they do in doctor houses, which is what I call hospitals. Rachel: We both have these very… nagging, low-level colds… Griffin: Yeah. Rachel: That just kind of cast a pallor over everything in our lives right now. Griffin: It‘s like a 16% cold. Rachel: I just feel its ever-present grip on my shoulder. Griffin: It‘s beatin‘ my butt. It‘s beatin‘ my butt. But I'm a weak boy-man who is like a grandfather clock, and y'know, if I get one mouse stuck in the gears, what? What? Rachel: That‘s gruesome. Griffin: Is that—was I thinking of Hickory Dickory Dock, and then I was thinking of like, Occam‘s Razor, the logical outcome for one of these poor, poor mice? Jeesh. Anyway, this is— Rachel: Should we mention that you've taken some medication? Griffin: Oh, I took some Suda. Rachel: Yeah. Griffin: Um, and so, I'm feelin‘, y'know, a little bit silly. [laughs] Rachel: [laughs] Griffin: But yeah, there‘s gonna be a lot of, uh, ear, nose, and throat noises in this episode, and you're just gonna have to learn to live with that.
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Rough Draft of Essay Due: Nov 8 Second Draft Due: Dec 13 Third Draft Due: Jan 17
Week 6 Notes – 25 Oct 2017 A. Freewriting: 5 mins Think about what you’ve heard, tasted, smelled, seen, and touched today before this class. Write down as many of these images as you can, the best way you can, in the English words you know. Don’t worry about making proper sentences or following standard grammar. Imagine you are trying to make someone else feel exactly the way you felt, and write the words that you think will do that. B. Share models - grps of 3. Describe the essay you brought to share. Why do you like it? Do you plan on “stealing” any formal elements from it for your own essay? Which ones? C. Peer review of proposals - groups of 3 - Read your classmate’s proposal. - Write your name. Underneath, write: 1. one question you’d like to ask them about their essay 2. one suggestion/idea you have which might help them as they continue writing Discuss in groups. Schedule for your essay project: Rough draft of essay due: Nov 8 Second draft due: Dec 13 Third draft due: Jan 17 HW for next week (31 Oct 2017): Listening/Reading: This week I’d like to focus on a different genre of essay: a music review. I’d like you to read Lester Bangs’ review of the Van Morrison album Astral Weeks. It’s one of the most famous album reviews ever written, probably because it’s very passionate, subjective, and personal—qualities we don’t usually associate with art criticism. Before you read the review, you should listen to the Van Morrison album, which many people consider to be one of the greatest rock/pop albums of all time.
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The Allman Brothers Band
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Am Sonntagmorgen Im Deutschlandfunk
Am Sonntagmorgen im Deutschlandfunk Pfarrer Stephan Krebs aus Darmstadt Grob oder großartig? Van Morrison über Gott und das Leben 30.08.2020 Er sattelt sein Pferd und reitet aus. „When rough God goes riding“ – das ist der Titel eines Songs von Van Morrison. Der Sänger aus Nordirland wird morgen 75 Jahre alt. Ein passender Anlass, sich mit ihm zu beschäftigen. Zumal er sich in seinen Songs immer wieder auf die Suche nach Gott begibt. „When rough God goes riding“ – wenn der raue Gott ausreitet. Bei diesem Satz entsteht in mir ein Bild: Ein Herrscher hoch zu Ross, vor dem sich alle fürchten. Erst recht, wenn er schlecht gelaunt ist. Wehe denen, die sein mürrischer Blick dann trifft! Gott als düsterer Herrscher, der rücksichtslos über Lebenswege hinwegtrampelt, Menschen, die seine Launen zu fürchten haben. Eine bittere und überwunden geglaubte Vorstellung. Doch sie könnte gerade jetzt vielen bekannt vorkommen, im Gewand der Schicksalsmacht Corona. Aller- dings kennt das Schicksal noch viele andere Wege, Menschen aus der Bahn zu werfen. Das alles hat auch mit Gott zu tun, sofern man in Gott die allbestimmende Kraft des Lebens sieht. Dann zeigt sich in der harten Hand des Schicksals die dunkle Seite Gottes, die Kehrseite seiner Liebe. Sie lehrt die Menschen das Fürchten und das Bescheidensein. Davon ist der Song von Van Morri- son geprägt. Der Sänger hat dabei aber noch etwas anderes im Blick: Ein Gedicht aus seiner Heimat in Nordirland. Geschrieben hast es William Butler Yeats, der irische Nationaldichter, vor 100 Jahren. Darin schlägt Yeats einen großen Bogen vom Schrecken des Ersten Weltkrieges über die bösen Vorahnungen auf den Nationalsozialismus bis hin zum Elend seines armen und geknech- teten Landes.
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Wainwright Sisters Keep It in the Family
SATURDAY, NOVEMBER 14, 2015 Music Review Wainwright Sisters keep it in the family here can be something magical about the voices of siblings singing together, as a lis- Tten to the Beach Boys or the Everly Brothers shows. More proof comes in this subtly haunting album by Martha Wainwright and Lucy Wainwright Roche, for whom music has always been a family affair. The half-sisters are daughters of singer-songwriter Loudon In this file picture taken on May 17, 2015, English-Irish pop band One Direction attend the 2015 Wainwright III and separate musical mothers. Billboard Music Awards at the MGM Grand Garden Arena in Las Vegas, Nevada. — AP photos Martha’s mother, the late Kate McGarrigle, wrote and performed with her sister Anna, while Lucy is the daughter of Suzzy Roche of sister act Bieber, One Direction The Roches. try Themes of family and childhood run through their collaboration “Songs in the Dark,” which Martha Wainwright has described as an album to grow up on new albums of “creepy, morbid lullabies.” Recorded at a fam- ily cabin in the Quebec woods, the album is a nce squeaky clean and baby-faced teen world at large but-many fans presume-to ex-girl- mix of traditional folk tunes and new takes on This CD cover image released by PIAS shows stars, Justin Bieber and One Direction have friend Selena Gomez, a fellow former teen star and songs by the likes of Cindy Walker, Townes Van “Songs in the Dark,” a release by The Oquickly discovered the harsh realities of liv- singer.
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Réalta Carry on the Bothy Band Tradition of Taking Tunes By the Scruff of the Neck and Firing Excitement Through Them Like Hot Flames!” - Herald Scotland
www.realtamusic.com “Réalta carry on the Bothy Band tradition of taking tunes by the scruff of the neck and firing excitement through them like hot flames!” - Herald Scotland Hailing from the Ulster city of Belfast, this award winning multi- instrumentalist group present an enchanting programme of Irish traditional dance music interspersed with the occasional air and song. Performing on duelling uilleann pipes, whistles, bodhrán, guitar, bouzouki, banjo, double bass and vocals, their unique sound and masterful musicianship has secured Réalta’s position as one of the most exciting acts on the Celtic music scene today. For more information see: www.realtamusic.com / RealtaMusic [email protected] Biography Described by Irish Music Magazine as “a full bodied pipe and whistle extravaganza”, Réalta carry on the Bothy Band tradition of taking tunes by the scruff of the neck and firing excitement through them like hot flames! Hailing from the Ulster city of Belfast, this award winning multi-instrumentalist group present an enchanting programme of dance music interspersed with the occasional story, air and song. While Conor Lamb and Aaron O’Hagan pursue the melody on uilleann pipes and whistles, guitarist and vocalist Deirdre Galway explores the harmony and rhythms within the tunes. All-Ireland champions Dermot Mulholland and Dermot Moynagh complete the line-up with dynamic accompaniments on double bass, bouzouki, banjo, voice and bodhrán, making this one of the most exciting acts on the Irish music scene today. The release of their second album, Clear Skies, has brought Réalta widespread critical acclaim, with the Irish Music Magazine summing things up by writing “Réalta have grown bigger, bolder and braver and this is one of the best CDs to have come out of Ireland this year!”.
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Wavelength (June 1983)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 6-1983 Wavelength (June 1983) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (June 1983) 32 https://scholarworks.uno.edu/wavelength/32 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. DEVELOPING THE NEW LEADERSHIP IN NEW ORLEANS MUSIC A Symposium on New Orlea Music Business Sponsored by the University of New Orleans Music Department and the Division of Continuing Education and wavelength Magazine. Moderator John Berthelot, UNO Continuing Education Coordinator/Instructor in the non-credit music business program. PROGRAM SCHEDULE How To Get A Job In A New Orleans Music Club 2 p.m.-panel discussion on the New Orleans club scene. Panelists include: Sonny Schneidau, Talent Manager. Tipitina's, John Parsons, owner and booking manager, Maple Leaf Bar. personal manager of • James Booker. one of the prcx:lucers of the new recording by James Booker. Classified. Jason Patterson. music manager of the Snug Harbor. associate prcx:lucer/consultant for the Faubourg Jazz Club, prcx:lucer for the first public showing of One Mo· Time, active with ABBA. foundation and concerts in the Park. Toulouse Theatre and legal proceedings to allow street music in the French Quarter. Steve Monistere, independent booking and co-owner of First Take Studio.
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Astral Weeks? – It’S Not Just Me, …
ASTRAL WEEKS? – IT’S NOT JUST ME, … THE RECORDING Van: “The entire LP was recorded in two eight-hour sessions, plus two overdub sessions. That was the whole album.” (Yorke p.51). Astral Weeks was recorded in just two sessions (48 hours) at Century Sound Studios, on West 52nd Street in New York (25 September & 15 October 1968), using NY session (jazz) musicians: Richard Davis (bass), Connie Kay (drums) from the Modern Jazz Quartet, Warren Smith Jr. (percussionist/vibraphone), John Payne (flute/soprano saxophone), and Jay Berliner (guitar), chosen by Lew Merenstein (Producer) in consultation with Richard Davis (bassist). “Merenstein received a call from Warner Bros: ‘We’ve signed Van Morrison, go up to Boston, see what he’s got’. … Morrison played Merenstein his song Astral Weeks: ‘Thirty seconds into it my whole being was vibrating … I had to be the producer to do it. Not that producer, not that producer, regardless of their accomplishments. It had to be Richard (Davis), not that bass player, I don’t want to sound existential, but there was Van, and that was it; there was no band, there were no arrangements, the direction was him singing and playing – that was where I followed. That’s why it came out like it did. To this day, it gives me pain to hear it; pain is the wrong word – I’m so moved by it.” (Marcus p.52-8). Lew Merenstein (Producer): “The musical energy of Astral Weeks came from the great players. That was the jazz background that I had, and that I brought in to it.
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Venturing in the Slipstream
VENTURING IN THE SLIPSTREAM THE PLACES OF VAN MORRISON’S SONGWRITING Geoff Munns BA, MLitt, MEd (hons), PhD (University of New England) A thesis submitted for the degree of Doctor of Philosophy of Western Sydney University, October 2019. Statement of Authentication The work presented in this thesis is, to the best of my knowledge and belief, original except as acknowledged in the text. I hereby declare that I have not submitted this material, either in full or in part, for a degree at this or any other institution. .............................................................. Geoff Munns ii Abstract This thesis explores the use of place in Van Morrison’s songwriting. The central argument is that he employs place in many of his songs at lyrical and musical levels, and that this use of place as a poetic and aural device both defines and distinguishes his work. This argument is widely supported by Van Morrison scholars and critics. The main research question is: What are the ways that Van Morrison employs the concept of place to explore the wider themes of his writing across his career from 1965 onwards? This question was reached from a critical analysis of Van Morrison’s songs and recordings. A position was taken up in the study that the songwriter’s lyrics might be closely read and appreciated as song texts, and this reading could offer important insights into the scope of his life and work as a songwriter. The analysis is best described as an analytical and interpretive approach, involving a simultaneous reading and listening to each song and examining them as speech acts.
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