John Prine Mick Ronson

Total Page:16

File Type:pdf, Size:1020Kb

John Prine Mick Ronson o PAGE 6 TUESDAY, OCTOBER 17, 1972 THE TECH - %.-, .__. .- · _ ... , ' ,' i .horrorsho'w 'futuristic Tommy., and'-on ti strength of this album alone, David Bowi; must be cOnsidered -the most promising: rock composer and artist, perhaps, ever. Each song bears his distinct trademark: a' strikingly.hauiting melody, nriever or dinary or expected, and incisive, ta-;:?:' talizingly poetic lyrics, sometimes deeply' ernmotional, but -often :satirically pro,. voking. While the lyrics on Hunky DorJ.' (and two earlier Bowie' albums on Mer-, cury, which may both be re-releasedi. ' along' with new. stuff by RCA) were-ofteii .unforgiveably obscure, those on Ziggy ar} another kettle _of asteroids, as Dave-' explores ard':lampoons rock and roll in a' bizarre Clockwork Orange-likenetherworl:·i. Alice Cooper's killer new single, 'setting of space-invaders, andromorphs, "Elected," is one of the mbst unusual and ever-present death. Rock and rolli releases in a good while, unusual ill suicide, when, the music becomes more. many ways. First and foremost is its, important than the people who play it or;V subject matter: the only other rock 45 those its meant-to help-and heal. I can think of :that concerned itself: -And lest- there is any doubt that David'i with the electoral process was Bowie- can rock, he and his:: Spiders are., "L.U.V." which stood for, as you no. currently touring the USA, appearing atf doubt recall, Let Us Vote, Boyce and. the Mucis Hall a few weeeks back. Frorrm Hart's plea to enfranchise the the moment Dave stepped on stage, a 18-to-20-year-olds. It was a minor flop vampire Elvis in a harlequin jumpsuit, back in 1968. Then there is the way in until his one encore, a sweat-soaked 90- which "Elected" came into existance: minutes later, all that could go right with:: it is a remake of a song off Alice a rock concert, did. They were loud butf Cooper's first album, ' called not deafening, Mick, RonsQn's scorching" well to the "Reflected." I can think of no other guitar and Dave"s vocals mixed example of a band doing that, digging front. They did several incredible acoustic up a cut from a long-forgottern album, numbers, including a starkly beautiful giving it a new title, new lyrics, and a rendition of "Space Oddity", and old: completely new arrangement. The re- Bowie single from 1968. But Dave and.."," Woodmanseyi: suit is barely recognizable. Nor is it Ronson and drummer Mick very audible: Alice does a good bit of and bassist- Trevor Bolder showed they ranting from the podium during the could be. more than just pretty:. theY? rocked off like sons-of-butches, strobe-' song, very little of which can be make out through the substandard mix. But John Prine -light screaming, through numbers like "Elected" rocks, y'know. About the I "Queen -Bitch," "Moonage Daydream," (Prine, continued fromr page 5) Chicago boy could pickk up such a. fine Dave's new British single "John I'm Only most chaotic, high - energy thing into mind with the lyrics. Despite leaks of sense of emotion and such a drawl toI they've done since "Under My Dancing," "Width of a Circle" with a similarity, John Prine is his own man with express it with, but whoereper they come, torrid Ronson solo, "Suffragette City," Wheels." The flip is a song, "Luney his own songs;of lost love and emotional from, they set him right in the middle of the School's Out album, one -and Dave's T. Rex spoof, "Hang Onto Tune," of wanderings. You can't expect to g!ean America. But it's not eexactly what you Yourself.-' Then as if his own material of the best things on the LP, and too much of his real sentimentality unless would expect middle America to be deserving of more airplay than anyone I him singing the wasn't enough, Dave lead the Spiders you are able to sit still and disregard his singing. Finally ydu find is about' to give it. ' Naturally,'Warner through two tunes. by' one of his favorite and repetitive guitar title cut, a 1929 revival hymn in all of its Bros. has pulled out all the advertising usually-simple, slow bands,' the now defunct Velvet -Under- serves as a a capella splendor, with John Prine"... stops with "Elected": red, white and accompaniment that only gound: "Waiting' For the -Man" and frame to hang his words on. And the. -shining, no longer in the r:ough." Diamonds oWhite Heat, White. Light" much to the' blue campaign buttons, bumpers stick- in the Rough - a fine sec:ond album. ers reading "Elected Cooper '72", with words are there, real everyday things that delight of the les-than-capacity crowd. I-- back and. imagine, as in =================================================St{eve McDonald:-:i dut-t a picture of a reclining Alice, his pet make you sit doubt that anyone save the Stones in:- boa wrapped about his naked loins. "Souvenirs": water An{d the cover of the single is almost A II the snow has turned to have come and gone worth the 78 cents by itself: a black Christmas days and white photo of John McCormick Broken toys-and faded'colors swearing in, well I guess John Kennedy Are all that's left to linger on I hate graveyards and old pawn- used to be in the picture, but now its a ig full-colored,' gold-and-silver plate-d sh70ops Alice. Cooper and Company may not For tliha always bring me tears be fairing 'too well in the polls, but-. I can 't fborgive the way they rob me Of my childhood souvenirs when was the last time the GOP had a And you can dance around too. You tune in the Hot 100?7 I ma-yav -not normally. have the urge to dial The first Velvet Underground your radio over- to the local.C&W station album, the one with Andy Warhol's -to get your body moving, but when John banana on the cover, has recently been Prine sings hisstyle of jukebox,-honky-, cut out and can now be :bought at tonk, truck-stop,- barroom 'music, you've .unbelieveably low prices, like..at the got to feel your boots stomping on the may not have a Harvard Coop for $1.99. dirt floor of a barn. He hell of' a lot to say under these circum- Last week George Carlin paid stances, but that don't make no never yet another. visit to Jo'hnny Carson's mind when you're laughing along with Tonight .Shovw, and told the tale of his "Yes I Guess They..Oughta Name A Drinkl Milwaukee bust this summer, for doing After'You'"': or "The Frying Pan" which his bit about the seven word6 you he' wrote at fourteeh). I couldn' tfeature can't. say on TV. Or apparently in them playing too much .of John Prine on Milwaukee, for that niatter. But Se-.i- C&W-- stations anyways since h'e has a ously, it .- seems he stands'. a good [-propenSity; foriwriting songs /bout Viet- chance off getting his case dismissed, nam vets throwing the towel in over the First Amendment and all that. But in war, as in -"Take. the Star Out' of the the meantime, looks like George. has Window." finally made it in show biz, if his Of all the lines that run through John appearence on Johnny's show is any Prine's -songs, one of the most obvious is indication. Instead of coming out, his affinity for dealing in moral terms. It's doing his bit, then going over to chat a little hard to bring this'part of John with Johnny until the next commer- Prine together with the rest of him,.in cial, George got the superstar treat- spite of the fact that this attitude is ment: he comes out to talk with- usually found in songs where he is poking Johnny, until Johnny says, Hey fun at.' American institutions as in "Flag . George have you got something for us Decal."' And there he is, a slightly drunk that you can do, and George says -former mailman from Chicago singing Yeah, Johnny, OK, and goes out and "Everybody," a spunky little piece about then does his routine. It may not seem a guy out sailing his boat ar.- having the I LbLEb7-'b^laYZLu'b3jiiliYr· to make that much of of difference, misfortune of running over the Saviour as Ii but just keep track of who does their I he -is walking on the water. Nevertheless, Mick Ronson (with back 1turned) and David Bowie schtick-before talking to Johnny and in "Billy the Bum," he does get serious who does -it after. The conclusion is about the hypocrisy of so many of (Bowie, continued fr'om page 5) their prime -could have put on as daz' clear: George has made it. today's churchgoers: best album of 1 97 1) into the-searing sci-fi zlingly superlative a rock show. Now some folks they :wait Quote of the Month (It could have space-rock of The Rise and Fall of Ziggy And ·I doubt I'll ever be able to bloi[ And some folks'the pray.v Stardust and the. Spiders From. Mars my critic's -trumpet loud enouh to do I happened to anyone; but'it did happen For Jesus to rise up again to the Boston Sunday Globe dated (more than likely the best of !972.) The the dude justice. As for the future, there'S i But none of these folks October 1, 19572): "For at-least 2 years record is such an awesome, definitive no way to anticipate what David Bowiei In their holy cloaks thing rock success that Dave's back-up men are will turn his genius to next.
Recommended publications
  • WATCHMOJO – the Life and Career of David Bowie (1947-2016)
    WATCHMOJO – The life and career of David Bowie (1947-2016) https://www.youtube.com/watch?v=Lan_wotkon0 [Fashion] Welcome to watchmojo.com and today we're taking a look at the life and career of David Bowie. [Queen Bitch] David Robert Jones was born on January 8 1947 in Brixton London England. Though he showed musical interest at a young age it was only in the early 60s that he really pursued the art. He started by joining several blues bands but branched off on his own when they had little success. Renaming himself David Bowie he released his self-titled debut in 1967. [Who's that hiding in the apple tree clinging to a branch] Its lack of success led Bowie to participate in a promotional film called Love you till Tuesday which showcased several of his songs. A particular interest was Space Oddity : that track became a hit after it was released at the same time as the first moon landing. [Ground control to Major Tom] His sophomore effort of the same name however was another commercial disappointment. [The man who sold the world] To promote his third album The man who sold the world, Bowie was put in a dress to capitalize on his androgynous look. [Life on mars] [Ziggy Stardust] In 1971 a pop influenced record called Hunky-Dory came out and was followed by the creation of his flamboyant Ziggy Stardust persona and stage show with backing band The Spiders from Mars. Then came his breakthrough record The rise and fall of Ziggy Stardust and the Spiders from Mars which climbed the charts thanks to his performance of the single Star Man on Top of the Pops.
    [Show full text]
  • The Age of Bowie 1St Edition Pdf, Epub, Ebook
    THE AGE OF BOWIE 1ST EDITION PDF, EPUB, EBOOK Paul Morley | 9781501151170 | | | | | The Age of Bowie 1st edition PDF Book His new manager, Ralph Horton, later instrumental in his transition to solo artist soon witnessed Bowie's move to yet another group, the Buzz, yielding the singer's fifth unsuccessful single release, " Do Anything You Say ". Now, Morley has published his personal account of the life, musical influence and cultural impact of his teenage hero, exploring Bowie's constant reinvention of himself and his music over a period of five extraordinarily innovative decades. I think Britain could benefit from a fascist leader. After completing Low and "Heroes" , Bowie spent much of on the Isolar II world tour , bringing the music of the first two Berlin Trilogy albums to almost a million people during 70 concerts in 12 countries. Matthew McConaughey immediately knew wife Camila was 'something special'. Did I learn anything new? Reuse this content. Studying avant- garde theatre and mime under Lindsay Kemp, he was given the role of Cloud in Kemp's theatrical production Pierrot in Turquoise later made into the television film The Looking Glass Murders. Hachette UK. Time Warner. Retrieved 4 October About The Book. The line-up was completed by Tony and Hunt Sales , whom Bowie had known since the late s for their contribution, on bass and drums respectively, to Iggy Pop's album Lust for Life. The Sydney Morning Herald. Morely overwrites, taking a significant chunk of the book's opening to beat Bowie's death to death, the takes the next three-quarters of the book to get us through the mid-Sixties to the end of the Seventies, then a ridiculously few yet somehow still overwritten pages to blast through the Eighties, Nineties, and right up to Blackstar and around to his death again.
    [Show full text]
  • Title: the Girl from Beckenham Storyteller: Suzi Ronson Episode: Leaving, Loving and Coming Home Originally Aired: January 31, 2017
    Title: The Girl from Beckenham Storyteller: Suzi Ronson Episode: Leaving, Loving and Coming Home Originally Aired: January 31, 2017 A note about this transcript: The Moth is true stories told live. We provide transcripts to make all of our stories keyword searchable and accessible to the hearing impaired, but we highly recommend listening to the audio to hear the full breadth of the story. This transcript was computer-generated and subsequently corrected through The Moth's StoryScribe (visit storyscribe.themoth.org for more information). I was born a few years after World War II, and brought up in a nice house in a typical suburb of Southeast London, Bromley, in Kent. My parents both worked. My father was a long-distance lorry driver and my mother was a shop assistant. They got married shortly after the war simply because that's what everybody did. The government gave generous allowances, and my brother and I both had free milk at school; a third of a pint in a glass bottle with a silver top. I don't think my parents expected too much of me after school. I think they thought I would kind of grow up, you know, have a bit of fun, get married, and have some children. The swinging sixties kind of changed all of that. I mean, we had the best music in the world. It was a great time to be a teenager: fabulous fashion, and the pill. Twiggy was my fashion model of the day, and everybody wanted to look like her. She was a tall, skinny girl with a flat chest and flat hair, and I wanted to look like her, too, but no chance.
    [Show full text]
  • Omega Auctions Ltd Catalogue 28 Apr 2020
    Omega Auctions Ltd Catalogue 28 Apr 2020 1 REGA PLANAR 3 TURNTABLE. A Rega Planar 3 8 ASSORTED INDIE/PUNK MEMORABILIA. turntable with Pro-Ject Phono box. £200.00 - Approximately 140 items to include: a Morrissey £300.00 Suedehead cassette tape (TCPOP 1618), a ticket 2 TECHNICS. Five items to include a Technics for Joe Strummer & Mescaleros at M.E.N. in Graphic Equalizer SH-8038, a Technics Stereo 2000, The Beta Band The Three E.P.'s set of 3 Cassette Deck RS-BX707, a Technics CD Player symbol window stickers, Lou Reed Fan Club SL-PG500A CD Player, a Columbia phonograph promotional sticker, Rock 'N' Roll Comics: R.E.M., player and a Sharp CP-304 speaker. £50.00 - Freak Brothers comic, a Mercenary Skank 1982 £80.00 A4 poster, a set of Kevin Cummins Archive 1: Liverpool postcards, some promo photographs to 3 ROKSAN XERXES TURNTABLE. A Roksan include: The Wedding Present, Teenage Fanclub, Xerxes turntable with Artemis tonearm. Includes The Grids, Flaming Lips, Lemonheads, all composite parts as issued, in original Therapy?The Wildhearts, The Playn Jayn, Ween, packaging and box. £500.00 - £800.00 72 repro Stone Roses/Inspiral Carpets 4 TECHNICS SU-8099K. A Technics Stereo photographs, a Global Underground promo pack Integrated Amplifier with cables. From the (luggage tag, sweets, soap, keyring bottle opener collection of former 10CC manager and music etc.), a Michael Jackson standee, a Universal industry veteran Ric Dixon - this is possibly a Studios Bates Motel promo shower cap, a prototype or one off model, with no information on Radiohead 'Meeting People Is Easy 10 Min Clip this specific serial number available.
    [Show full text]
  • David Bowie's Urban Landscapes and Nightscapes
    Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 17 | 2018 Paysages et héritages de David Bowie David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text Jean Du Verger Electronic version URL: http://journals.openedition.org/miranda/13401 DOI: 10.4000/miranda.13401 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Jean Du Verger, “David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text”, Miranda [Online], 17 | 2018, Online since 20 September 2018, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/13401 ; DOI: https://doi.org/10.4000/miranda.13401 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text 1 David Bowie’s urban landscapes and nightscapes: A reading of the Bowiean text Jean Du Verger “The Word is devided into units which be all in one piece and should be so taken, but the pieces can be had in any order being tied up back and forth, in and out fore and aft like an innaresting sex arrangement. This book spill off the page in all directions, kaleidoscope of vistas, medley of tunes and street noises […]” William Burroughs, The Naked Lunch, 1959. Introduction 1 The urban landscape occupies a specific position in Bowie’s works. His lyrics are fraught with references to “city landscape[s]”5 and urban nightscapes. The metropolis provides not only the object of a diegetic and spectatorial gaze but it also enables the author to further a discourse on his own inner fragmented self as the nexus, lyrics— music—city, offers an extremely rich avenue for investigating and addressing key issues such as alienation, loneliness, nostalgia and death in a postmodern cultural context.
    [Show full text]
  • David Bowie Live Santa Monica '72 Mp3, Flac, Wma
    David Bowie Live Santa Monica '72 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Live Santa Monica '72 Country: UK Style: Glam MP3 version RAR size: 1934 mb FLAC version RAR size: 1480 mb WMA version RAR size: 1691 mb Rating: 4.7 Votes: 469 Other Formats: RA TTA AU WMA MIDI TTA MMF Tracklist A1 Introduction 0:12 A2 Hang On To Yourself 2:47 A3 Ziggy Stardust 3:22 A4 Changes 3:27 A5 The Supermen 2:54 A6 Life On Mars? 3:27 B1 Five Years 4:32 B2 Space Oddity 5:05 B3 Andy Warhol 3:48 B4 My Death 5:50 C1 The Width Of A Circle 10:44 C2 Queen Bitch 3:00 C3 Moonage Daydream 4:53 C4 John, I'm Only Dancing 2:54 D1 Waiting For The Man 6:15 D2 The Jean Genie 3:59 D3 Suffragette City 4:12 D4 Rock 'N' Roll Suicide 2:59 Companies, etc. Recorded At – Santa Monica Civic Auditorium Mastered At – Sterling Sound Credits Bass Guitar – Trevor Bolder Drums – Mick "Woody" Woodmansey* Engineer – Mike Moran Guitar, Vocals – David Bowie Keyboards – Mike Garson Lead Guitar, Bass Guitar, Vocals – Mick Ronson Mastered By – Ted Jensen Mixed By – Grover Hesley* Recorded By – The Wally Heider Facility* Notes Possibly 2016 release. Other versions Category Artist Title (Format) Label Category Country Year BOWLIVE Live Santa BOWLIVE 201072LP, David Monica '72 201072LP, EMI, EMI UK & Europe 2008 50999 2127921 Bowie (2xLP, Album, 50999 2127921 8 Ltd, Num) 8 Make-Up And Audio David Rock & Roll ARC 2001 Recording ARC 2001 France 1983 Bowie (2xLP, Album, Corporation Unofficial) David Rarest Live (CD, BLCY-1020 MF Records BLCY-1020 Japan 2001 Bowie Unofficial) Rock'n'Roll
    [Show full text]
  • David Bowie Ziggy 2 Mp3, Flac, Wma
    David Bowie Ziggy 2 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Ziggy 2 Style: Pop Rock, Glam MP3 version RAR size: 1109 mb FLAC version RAR size: 1691 mb WMA version RAR size: 1846 mb Rating: 4.4 Votes: 943 Other Formats: DMF MP3 AAC MOD AHX ASF DXD Tracklist Hide Credits A1 Queen Bitch A2 Bombers A3 Supermen A4 Looking For A Friend A5 Almost Grown B1 Kooks B2 Song For Bob Dylan B3 Andy Warhol B4 It Ain't Easy It's Going To Be Me B5 Guitar – Marc Bolan Credits Bass – Trevor Bolder Drums – Mick Woodmansey Guitar – Mark Pritchard* Guitar, Vocals – Mick Ronson Lead Vocals – Dana Gillespie (tracks: B3), George Underwood (tracks: B2), Jeff Alexander (tracks: A5) Lead Vocals, Guitar, Piano – David Bowie Notes "The first nine songs on this album were recorded for the BBC "In Concert" radio show in 1971 (sometime between the release of THE MAN WHO SOLD THE WORLD and HUNKY DORY). The final song is a jam with Marc Bolan taken from Marc's own TV show "MARC", it was recorded only days before his tragic death." Yellow-Orange insert, with Tune In 002. Yellow-Orange labels from Dragonfly Records: - Presents - “The Sound Of The `60`s” A Musical Documentary Number 5 In This Series Barcode and Other Identifiers Matrix / Runout: ZIGGY II - A Matrix / Runout: ZIGGY II - B Other versions Category Artist Title (Format) Label Category Country Year 002 David Bowie Ziggy 2 (LP, Unofficial) Tune In 002 1978 002 David Bowie Ziggy 2 (LP, Unofficial) Tune In 002 US 1978 Wild-Eyed Boy (CD, Album, 159082 David Bowie Retropop 159082 Japan 1990 Unofficial) David Bowie And Various - A David Bowie none Crash Course For The Gold Standard none Japan 1994 And Various Ravers (CD, Unofficial) Tune In, 002 David Bowie Ziggy 2 (LP, Unofficial) Dragonfly 002 Unknown Records Related Music albums to Ziggy 2 by David Bowie David Bowie - Secrets Of My Lost Years 1969-1973 Marc Bolan, T.
    [Show full text]
  • 'I Didn't Care About His Lovers As Long As They Realised I Was Queen'
    Beside Bowie: The Mick Ronson Story Coverage date: 19 May 2017 Circulation: 450910 Page: 4,5 ‘I didn’t care about his lovers as long as they realised I was queen’ David Bowie’s first wife, Angie, tells Will Hodgkinson about the couple’s bisexuality, life after Bowie’s death and her estrangement from their son ot long into our interview, Angie Fair Hotel in central London, and it Bowie offers a doesn’t take long to see how she would frankly surprising have been instrumental in propelling perspective on Bowie to fame. She has a voice that how she helped can surely be heard back in her home to come up with in Georgia. Now 67, she exudes a N more feminine version of the brittle, David Bowie’s sexually confrontational image for peroxide-blond glamour with which the Ziggy Stardust era. She didn’t she first made an impact in the early want to get pregnant. 1970s. And she can switch from being “My father didn’t want me to do utterly charming to quite terrifying. anything to upset his apple cart in She’s not actually here to talk about Cyprus,” says Angie Bowie, who her slight, feminine former husband, grew up on the island where her but the muscular hunk who once American father, a mining engineer, played guitar stage left of him. was stationed. “But hormones will Mick Ronson was working as a run rampant, so what does that gardener in Hull when in 1970 he leave you with? The other 50 per received an invitation to form a band cent of the population.
    [Show full text]
  • Pinups, Striptease, and Social Performance
    Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 17 | 2018 Paysages et héritages de David Bowie “Come Tomorrow, May I Be Bolder Than Today?”: PinUps, Striptease, and Social Performance Shannon Finck Electronic version URL: http://journals.openedition.org/miranda/12497 DOI: 10.4000/miranda.12497 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Shannon Finck, ““Come Tomorrow, May I Be Bolder Than Today?”: PinUps, Striptease, and Social Performance”, Miranda [Online], 17 | 2018, Online since 19 September 2018, connection on 16 February 2021. URL: http://journals.openedition.org/miranda/12497 ; DOI: https://doi.org/10.4000/miranda. 12497 This text was automatically generated on 16 February 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. “Come Tomorrow, May I Be Bolder Than Today?”: PinUps, Striptease, and Social ... 1 “Come Tomorrow, May I Be Bolder Than Today?”: PinUps, Striptease, and Social Performance Shannon Finck 1 In the spring of 1973, just before the official “retirement” of Ziggy Stardust that summer, David Bowie asked the public what turned out to be a career-defining question: “Who’ll love Aladdin Sane?” (“Aladdin Sane”). Not only did Aladdin Sane, Bowie’s sixth studio album, usher in the series of bold musical innovations that would launch him into rock-and-roll legendry, the introduction of the Aladdin Sane persona —“a lad insane”—signaled a performative instability that would continue to inspire, frustrate, and titillate fans and critics even after his death. This essay explores opportunities for tarrying with—rather than reducing or trying to pin down—that instability and critiques what seem to be inexhaustible efforts to do just that.
    [Show full text]
  • Glam Rock by Barney Hoskyns 1
    Glam Rock By Barney Hoskyns There's a new sensation A fabulous creation, A danceable solution To teenage revolution Roxy Music, 1973 1: All the Young Dudes: Dawn of the Teenage Rampage Glamour – a word first used in the 18th Century as a Scottish term connoting "magic" or "enchantment" – has always been a part of pop music. With his mascara and gold suits, Elvis Presley was pure glam. So was Little Richard, with his pencil moustache and towering pompadour hairstyle. The Rolling Stones of the mid-to- late Sixties, swathed in scarves and furs, were unquestionably glam; the group even dressed in drag to push their 1966 single "Have You Seen Your Mother, Baby, Standing in the Shadow?" But it wasn't until 1971 that "glam" as a term became the buzzword for a new teenage subculture that was reacting to the messianic, we-can-change-the-world rhetoric of late Sixties rock. When T. Rex's Marc Bolan sprinkled glitter under his eyes for a TV taping of the group’s "Hot Love," it signaled a revolt into provocative style, an implicit rejection of the music to which stoned older siblings had swayed during the previous decade. "My brother’s back at home with his Beatles and his Stones," Mott the Hoople's Ian Hunter drawled on the anthemic David Bowie song "All the Young Dudes," "we never got it off on that revolution stuff..." As such, glam was a manifestation of pop's cyclical nature, its hedonism and surface show-business fizz offering a pointed contrast to the sometimes po-faced earnestness of the Woodstock era.
    [Show full text]
  • Mick Ronson Worldwide Solo Discography
    MICK RONSON WORLDWIDE SOLO DISCOGRAPHY Version 2.0 - 27 July 2000 Ó Sven Gusevik (e-mail: [email protected]) Visit my website for colour illustrations of albums and singles at http://home.no.net/mott/index.html THIS DISCOGRAPHY CONTAINS MICK RONSON SOLO RELEASES FROM COUNTRIES ALL OVER THE WORLD. - How to read the discography - Column 1: format (lp/cd/single) Column 3: record label & cat.nos Column 5: year of release Column 2: title / description Column 4: country Column 6: comments If there are no comments, the singles have no picture sleeves; albums have no gatefold sleeves. - Country codes - SA - South Africa SIN - Singapore JAP - Japan SPA - Spain POR - Portugal MAL - Malaysia NZ - New Zealand ITA - Italy GER - Germany YUG - Yugoslavia ISR - Israel ENG - England SWE - Sweden AUS - Australia ARG - Argentina GRE - Greece FRA - France HOL - Holland AUT - Austria THA - Thailand UPDATES / CORRECTIONS / ADDITIONS WELCOMED! The information I need for any addition to this discography other than artist / title is (a) catalogue number (b) country & year of release (c) description (new cover, bonus tracks etc). Send photo copies if possible. Mick Ronson singles discography stock copies (Hunter-Ronson included) All singles are 7" vinyl pressings without picture sleeves unless noted otherwise! An asterisk (*) denotes non- LP track [at the time of release]. Although not reported, there are probably Spanish, Italian and Yugoslavian pressings of the "Slaughter" single in existence - and Holland pressings of all RCA singles. Anyone? MICK RONSON SOLO: 1974 Love Me Tender / Only After Dark............................................................ England RCA APBO 0212 1974 Love Me Tender / Only After Dark............................................................ USA RCA APBO 0212 1974 Love Me Tender / Only After Dark...........................................................
    [Show full text]
  • The Last Days of John Lennon
    Copyright © 2020 by James Patterson Hachette Book Group supports the right to free expression and the value of copyright. The purpose of copyright is to encourage writers and artists to produce creative works that enrich our culture. The scanning, uploading, and distribution of this book without permission is a theft of the author’s intellectual property. If you would like permission to use material from the book (other than for review purposes), please contact [email protected]. Thank you for your support of the author’s rights. Little, Brown and Company Hachette Book Group 1290 Avenue of the Americas, New York, NY 10104 littlebrown.com twitter.com/littlebrown facebook.com/littlebrownandcompany First ebook edition: December 2020 Little, Brown and Company is a division of Hachette Book Group, Inc. The Little, Brown name and logo are trademarks of Hachette Book Group, Inc. The publisher is not responsible for websites (or their content) that are not owned by the publisher. The Hachette Speakers Bureau provides a wide range of authors for speaking events. To find out more, go to hachettespeakersbureau.com or call (866) 376-6591. ISBN 978-0-316-42907-8 Library of Congress Control Number: 2020945289 E3-111020-DA-ORI Table of Contents Cover Title Page Copyright Dedication Prologue Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 — Chapter 6 Chapter 7 Chapter 8 Chapter 9 Chapter 10 Chapter 11 Chapter 12 Chapter 13 Chapter 14 Chapter 15 Chapter 16 Chapter 17 Chapter 18 — Chapter 19 Chapter 20 Chapter 21 Chapter 22 Chapter 23 Chapter 24
    [Show full text]