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Some Bros. & a Blonde
page 16 BLUE Joni Mitchell ; Reprise MS2038 ? -How does it sound? ; --Well, you can really see where James Taylor, uhh... you've really got to listen to the background.. .you know so much of the guitar playing sounds just like him.. the electric parts, I guess. -Does she have a lot of piano in it? . ; --Not really. Not so distinctive. But she's got practically * everything else on it , everything else that you might ex-;.. I pect from her, that is, a lot of different instruments. * -Do you think it's prettier than Ladies of the Canyon? . .. f --Technically better. ': ''Technically better?What do you mean? --The music is better. She's doing a lot of more compli cated arrangements. Musically it's almost perfect, you know. -I don't even know who else is playing with her on that album. --It doesn't say. It's very plain. On the inside are all the words. And on the back it has all die titles of the songs. .... ; . .. the front has Blue Joni Mitchell and you open it up .,.'!. and there are her words. Oh wait a minute... down here t I see something... Stephen Stills bass guitar on "Carey",| James Taylor on " California", and "All I Want", "A Case ! Of You". Sneaky pete, pedal steel guitar. ! - Yeah, he's from the Flying Burritfc Brothers. « --Uhh.. engineer.. Henry Lewey. Lewey? \ -Lewey, yeah. f (long pause) '. -How long have you had it? ••• t. --Just this afternoon. , . jj -How many times have you heard it? :- | --Once. I'm on my second now. -
John Lennon from ‘Imagine’ to Martyrdom Paul Mccartney Wings – Band on the Run George Harrison All Things Must Pass Ringo Starr the Boogaloo Beatle
THE YEARS 1970 -19 8 0 John Lennon From ‘Imagine’ to martyrdom Paul McCartney Wings – band on the run George Harrison All things must pass Ringo Starr The boogaloo Beatle The genuine article VOLUME 2 ISSUE 3 UK £5.99 Packed with classic interviews, reviews and photos from the archives of NME and Melody Maker www.jackdaniels.com ©2005 Jack Daniel’s. All Rights Reserved. JACK DANIEL’S and OLD NO. 7 are registered trademarks. A fine sippin’ whiskey is best enjoyed responsibly. by Billy Preston t’s hard to believe it’s been over sent word for me to come by, we got to – all I remember was we had a groove going and 40 years since I fi rst met The jamming and one thing led to another and someone said “take a solo”, then when the album Beatles in Hamburg in 1962. I ended up recording in the studio with came out my name was there on the song. Plenty I arrived to do a two-week them. The press called me the Fifth Beatle of other musicians worked with them at that time, residency at the Star Club with but I was just really happy to be there. people like Eric Clapton, but they chose to give me Little Richard. He was a hero of theirs Things were hard for them then, Brian a credit for which I’m very grateful. so they were in awe and I think they had died and there was a lot of politics I ended up signing to Apple and making were impressed with me too because and money hassles with Apple, but we a couple of albums with them and in turn had I was only 16 and holding down a job got on personality-wise and they grew to the opportunity to work on their solo albums. -
SINGING GAMES in the UPPER ELEMENTARY Aug
SINGING GAMES IN THE UPPER ELEMENTARY Aug. 19, 2015: Eastern Washington Education Conference Christopher Roberts – [email protected] Children + play + music = singing games! There is perhaps nothing more playful in music class than singing games. Yet students in the upper elementary grades are going through social and emotional transitions that can make them hard for music teachers to reach: indeed, they are becoming “too cool for school.” Because of this, not all games are successful. What makes a good game for upper elementary students? Where can they be found? And most importantly, can we play some? Why play singing games in the elementary classroom? Potential challenges: n get students singing n overwhelming rambunctiousness! n allow time in class for students to re-focus n elimination games: what happens to students n create community in the classroom who get out? n use songs to extract elements for literacy n getting students to sing n sing multicultural music(s) n bad sportsmanship n have fun! n hand-holding What do students in upper elementary like? How to teach: n games with movement n step by step n games with competition n layer challenges n tunes with syncopation n differentiate instruction n tunes with minor/modal/blues-y melodies n decide: game before song, song before game, or n games that pose a challenge both at the same time Aquaqua Israel # 2 j Œ & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ A- qua - qua del- a omar- qua, qua, qua, Del si- ma tri- co 7 # ‰ j j j Œ & œ œ œ œ œ œ ™ œ ™ œ œ œ œ œ œ tri- co, tri- co, tra Va lo,œ va lo,œ va lo,œ va laœ va la, va lo, Source: First grade students of Givat Mordecai, in Jerusalem, Israel; September, 1979. -
Requiem for Thomas Wood B.3/10/65 D.6/27/19 “Sometimes I Feel
Requiem for Thomas Wood b.3/10/65 d.6/27/19 “Sometimes I feel, sometimes I feel Like I been tied to the whipping post Tied to the whipping post, tied to the whipping post Good Lord, I feel like I’m dyin’” Allman Brothers Band. Whipping Post The last time I saw Tom Wood alive the scene played out this way. I was heading down Bishop Street when I spotted Tom on the side of the road across from the MWRTA’s headquarters. I’m thinking maybe he was lookin’ for a lift to cover the last 700 yards from the Turning Point to the mother ship. First I groaned, then hesitated, yes hesitated before pulling over to the side of the road and rolling the passenger side window. “Tom, hey Tom, do you want a ride, are you OK?” Tom’s eyes are cloudy and unfocused, they appear to be spinning in his head. “You may need to go to the hospital. Come on, let’s go see your caseworker.” No way, Tom dismisses me. His eyes focus for a moment. “I’m OK. I’ll walk.” As I pull away, the twin throbbing guitars of Duane Allman and Dickey Betts accompanied by the futile existential wail of sorrow by Gregg Allman starts playing between my ears. The Live at the Fillmore version. It’ll be a while before it recedes. I learn, when Tom is lying in a hospital bed with the electrical activity in his brain reduced to a mere flicker, that Tom was a heavy metal aficionado. -
Stan Magazynu Caĺ†Oĺıäƒ Lp Cd Sacd Akcesoria.Xls
CENA WYKONAWCA/TYTUŁ BRUTTO NOŚNIK DOSTAWCA ALLMAN BROTHERS BAND - AT FILLMORE EAST 159,99 SACD BERTUS ALLMAN BROTHERS BAND - AT FILLMORE EAST (NUMBERED 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - BROTHERS AND SISTERS (NUMBE 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - EAT A PEACH (NUMBERED LIMIT 149,99 SACD MOBILE FIDELITY ALLMAN BROTHERS BAND - IDLEWILD SOUTH (GOLD CD) 129,99 CD GOLD MOBILE FIDELITY ALLMAN BROTHERS BAND - THE ALLMAN BROTHERS BAND (N 149,99 SACD MOBILE FIDELITY ASIA - ASIA 179,99 SACD BERTUS BAND - STAGE FRIGHT (HYBRID SACD) 89,99 SACD MOBILE FIDELITY BAND, THE - MUSIC FROM BIG PINK (NUMBERED LIMITED 89,99 SACD MOBILE FIDELITY BAND, THE - THE LAST WALTZ (NUMBERED LIMITED EDITI 179,99 2 SACD MOBILE FIDELITY BASIE, COUNT - LIVE AT THE SANDS: BEFORE FRANK (N 149,99 SACD MOBILE FIDELITY BIBB, ERIC - BLUES, BALLADS & WORK SONGS 89,99 SACD OPUS 3 BIBB, ERIC - JUST LIKE LOVE 89,99 SACD OPUS 3 BIBB, ERIC - RAINBOW PEOPLE 89,99 SACD OPUS 3 BIBB, ERIC & NEEDED TIME - GOOD STUFF 89,99 SACD OPUS 3 BIBB, ERIC & NEEDED TIME - SPIRIT & THE BLUES 89,99 SACD OPUS 3 BLIND FAITH - BLIND FAITH 159,99 SACD BERTUS BOTTLENECK, JOHN - ALL AROUND MAN 89,99 SACD OPUS 3 CAMEL - RAIN DANCES 139,99 SHMCD BERTUS CAMEL - SNOW GOOSE 99,99 SHMCD BERTUS CARAVAN - IN THE LAND OF GREY AND PINK 159,99 SACD BERTUS CARS - HEARTBEAT CITY (NUMBERED LIMITED EDITION HY 149,99 SACD MOBILE FIDELITY CHARLES, RAY - THE GENIUS AFTER HOURS (NUMBERED LI 99,99 SACD MOBILE FIDELITY CHARLES, RAY - THE GENIUS OF RAY CHARLES (NUMBERED 129,99 SACD MOBILE FIDELITY -
Adrian Belew Power Trio
This pdf was last updated: Dec/29/2010. Adrian Belew Power Trio King Crimson and Frank Zappa, David Bowie and Paul Simon, Talking Heads and Nine Inch Nails - Adrian Belew is well-known for his diverse travels around the musical map. Line-up Adrian Belew - guitar, vocals Julie Slick - bass Eric Slick - drums Andre Cholmondeley - tour manager/tech Plus one additional sound/tech manager On Stage: 3 Travel Party: 5 Website www.adrianbelew.net Biography Since 2006, Adrian Belew has led his favorite 'Power Trio' lineup, featuring Eric Slick on drums and Julie Slick on bass. They have been devastating audiences all around the USA and globally, from Italy to Canada to Germany to Japan. With the release of their brand- new CD 'Side Four - Live' they return to the road to stretch out the new material and introduce it to new audiences. The show will feature material from the new CD, classics from Adrian's many solo albums (including the recent 'Side One', 'SideTwo', and 'Side Three'), as well as solo moments, spirited improvisation and King Crimson compositions. 'Side One' features special guests Les Claypool of Primus and Danny Carey of Tool, and includes the Grammy-Nominated single - 'Beat Box Guitar'. The recently released 'Side Four (Live)' captures the current trio in a burning performance. Adrian is well-known for his diverse travels around the musical map - he first appeared on guitar-world radar when he joined Frank Zappa's band in 1977 for tours of the USA and Europe. When Frank Zappa hires you as his guitarist, people listen up. -
Theólumn Jon Tiven
Michael Tearson Theólumn Jon Tiven 95 Running on Empty: Jackson Browne songs describe what happens or how superior sequencing of selections. Call Asylum 6E-113, stereo, $7.98. you feel out there. The new ones are this a rave review. M. T. Running on Empty was recorded live distinctively Jackson's. They feel it. and on the run. It includes per- But Jackson has been lazy with his Sound: A + Performance: A + formances live on stage, in hotel melodies. Both of the rockers, the title rooms, in a rehearsal hall, even rolling song and You've Got the Thunder, cop along on the bus. One, Danny the main riff of Take It Easy. The Load Don Juan's Reckless Daughter: Joni O'Keefe's The Road, combines hotel, Out is very close to The Pretender Mitchell first verse up to the built-in pause in which itself reminds me of For Asylum BB -101, stereo, $12.98. the melody when crickets appear and Everyman. Rosie brings Ready or Not Don Juan's Reckless Daughter elab- it segues to the stage at the same point back to mind. As obvious as it is orates stylistically on its two in the song. Only the altered texture of Jackson's self -thievery really doesn't predecessors Hejira and The Hissing of the sounds and ambience signals the matter within the good feelings of the Summer Lawns. The cover art is even switch. The pause in the second verse album. Surely it is both the happiest quite reminiscent of Hissing's. The yields a magical moment when the and most optimistic album Browne has snake image which has been central to crowd cheers apparently for the recorded. -
“Statesboro Blues”—Blind Willie Mctell (1928) Added to the National Registry: 2015 Essay by Brian Bader
“Statesboro Blues”—Blind Willie McTell (1928) Added to the National Registry: 2015 Essay by Brian Bader Blind Willie McTell Blind Willie McTell was born May 5, 1901 in Thomson, Georgia. Though there is some uncertainty about his birth year, his comparatively long life (he died on Aug. 19, 1959, in Milledgeville, Georgia), his prolific recording career, the memories of numerous acquaintances, and McTell’s own recorded reminiscences, allow for a full picture of his life. His skillful fingerpicking guitar style ranks high with the playing of other acoustic blues artists, both blind (Blind Boy Fuller, Blind Blake, Reverend Gary Davis) and sighted (Josh White, Brownie McGhee). Hard to categorize, McTell embodied Piedmont blues, as well as ragtime, and gospel/spiritual/religious music, and may best be described as a mid-twentieth century American songster. One of his tunes--“covered,” or more accurately freely adapted, in a powerful electric blues rendition by the Allman Brothers Band-- is his legacy. This number most familiar to modern blues and rock fans: “Statesboro Blues.” Recorded by McTell and self-accompanied on twelve- string guitar in 1928 for Victor records, it showcases his distinctive voice and his talented guitar playing. The Allman Brothers later credited their cover of the song to “Will McTell” on their live two-record album “At Filmore East” released in 1971 on Capricorn Records. Guitarists Duane Allman (using a slide) and Dickey Betts cut loose with their trademark twin lead guitar line up in a memorable reading as a jumping blues shuffle. In an analysis of the history of “Statesboro Blues,” however, it is important to note that between the McTell recording and the Allman Brothers, there is a version from 1968 by Taj Mahal on his debut album. -
The Effect of Singing on Pain Management with Orthopedic Chronic Pain Patients
The Effect of Singing on Pain Management With Orthopedic Chronic Pain Patients A Thesis Presented to the Faculty of Hahnemann University Graduate School In Partial Fulfillment of the Requirements for the Degree Master's of Creative Arts in Therapy by Kelley A. Lyon Creative Arts in Therapy Department June, 1988 HAHNEMANN UNIVERSITY GRADUATE SCHOOL Thesis Approval Jhis is to certify that the thesis presented to us by 7/5^ //A*/ A-frfr^. on the x'/ day of 'ZLl. , 19 / in partial fulfillment of the requirements for the degree of M ?C£^r f CO has been examined and is acceptable in both scholarship WdVliterary quality. COMMITTEE MEMBERS SIGNATURES , Chairman Pi 'v. i JQJLJU MV> {yujj^j^ ^ /fjpis, Md 1 Abstract This study investigated the effect of personalized singing programs on pain management with adult chronic orthopedic pain patients. The hypothesis was that the subjects would experience significant levels of pain reduction while practicing a self-directed singing program, and an even more significant level of pain reduction while working directly with the researcher; as compared to subjects who did not participate in the singing program. A total of 4 subjects were used, 2 who sang and 2 who did not (due to lack of accumulated data, one of the control patients' contribution was void). Subjects ranged in age from 30 to 60 years. The main measurement consisted of the McGill Daily Home Recording Card. Pre and post experimental questionnaires, included in a descriptive case material section, were also used for the 2 subjects participating in the singing program. Due to the small sample size, and diversity of symptoms, responses and problems in the method of scoring, no statistically significant results were obtained. -
The Allman Betts Band at Pikes Peak Center on Friday, September 13, 2019
For Immediate Release Media Contact: Denise M. Abbott The Broadmoor World Arena/Pikes Peak Center (719) 477-2117 (o) [email protected] The Allman Betts Band at Pikes Peak Center on Friday, September 13, 2019 Coming to Pikes Peak Center and announcing today is The Allman Betts Band which will visit Colorado Springs on Friday, September 13. After a successful year touring as The Devon Allman Project with special guest Duane Betts, the sons of Gregg Allman and Dickey Betts have joined forces to form The Allman Betts Band. The new band includes Devon Allman, Duane Betts, Berry Oakley Jr. (son of original Allman Brothers Band bassist Berry Oakley), Johnny Stachela (slide guitar) and Devon Allman Project percussionists R. Scott Bryan and John Lum. Tickets for the September show will go on sale Friday, February 8 at 10 a.m. and range from $34 - $47 plus applicable fees. They can be purchased online at PikesPeakCenter.com, BroadmoorWorldArena.com, or AXS.com; at the Pikes Peak Center or The Broadmoor World Arena box offices; or via phone at (719) 520-SHOW. The band kicks off 2019 with a new Allman Betts Band album and a worldwide tour that will feature new music, songs from their solo projects, and classic Allman Brothers and Gregg Allman tunes in honor of the 50th Anniversary of The Allman Brothers Band. The new album, slated for release in the spring of 2019, will include guest appearances from former Allman Brothers Band keyboardist and current Rolling Stones keyboardist, Chuck Leveall. . -
1975 San Francisco, CA Kezar Stadium SNACK Sunday ,
March 23, 1975 San Francisco, CA Kezar Stadium SNACK Sunday , .........J.t..t.r ~ s.t.,Mlr.1, 1'75 Neil Young in SNACK ~·olk-rock sUlll'n-lar :'\e,I Krtth Younq, the Ooobie 81ulll1'r,, and the ~liracles huve been Promoter 8111 Gruham, added lo the Sund111 111 announcmg Young's :>iACK benefit concert rcir booklni:. noted thal the the S.F. sehools' sports and seven-boor show's roster Is cultural programs. in Ke- now complete zar Stadlum March ZJ be gmnmg at 10 a m Joan Baez, Jerry Gar cia. TW'er of Power, San Jommg Youn11 wtU be tana, Graham Centrnl Sta· drummer Levon Helm and lion. Jeffen;on7Slarshlp and bassl•t Rick Dan!.o of The others have already been Band and KUilansl Ben JIIIIOllllCed. 16 Ollla•b ltrlbunc Mon., March 24, 1975 Brande end Dylan Starsof SNACK1 Are You Ready For The Country Ain't That A Lot Of Love Looking For A Love Loving You Is Sweeter Than Ever I Want You The Weight Helpless FROMENGI..AW Knockin' On Heaven's Door Will The Circle Be Unbroken SNEAK PR~ Rick Danko – bass Bob Dylan –guitar, piano, harmonica Tim Drummond – guitar Levon Helm – drums Garth Hudson – keyboards Ben Keith – pedal steel guitar Neil Young - piano, guitar Notes: Broadcast live on K-101 radio. _.. THE PEARLFISH ERS t,yGeorgos8int IN ENGLISH produced by San Francisco Opera Kurt Herbert Adler, General Director at the PARAMOUNT THEATRE TUESDAY, APRIL 8 al 8:00 P.M. .8 Pwt lV-Tues.,'Mar. 25, 1975 l.llf ... )!OBERT HILBURN $200,000- SNACK Time--A Line-Up of Who Needs It? Talent in Live Stereo . -
Song of the Day Lxxxvi
SONG OF THE DAY LXXXVI This may go down as one of the shortest SOTD’s yet. Not because the song isn’t worthy of being written about, it certainly is. But mainly because the song is another instrumental and the song is so short on record. Of course I am talking about “Bron-Yr-Aur,” Jimmy’s acoustic, quasi-classical piece from “Physical Graffiti,” LP two, side three, track two, clocking in at a mere 2:06. Named after the cottage where Robert suggested they retreat to in order to get away from everything and focus on writing for their third album, this is about as beautiful as it gets. Jimmy utilizes an open C6 tuning for this piece, and for you guitar novices out there, you tune your guitar, from low to high, like this: C-A-C-G-C-E It is another in a long line of Page compositions that is just so enjoyable to play. It’s a bit difficult to learn if you aren’t used to playing classical guitar, as it requires a lot of finger picking to accurately perform it, but it is certainly worth the effort to get your skill to the needed requirement because this is a song that everyone loves. I remember being 14 and having a Led Zeppelin poster on my wall and my dad walked in my room, looked at the poster and just gave me that look. You know the look – that look that asks: What are you doing with this crap? I simply told my dad to hold on, pulled out my “Physical Graffiti” album and played this song.