The Wrecking Crew Is Saved from a Wrecking Crew by Robert W
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The Sugar Shoppe the Sugar Shoppe Mp3, Flac, Wma
The Sugar Shoppe The Sugar Shoppe mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop Album: The Sugar Shoppe Country: UK Released: 2013 Style: Easy Listening, Vocal MP3 version RAR size: 1914 mb FLAC version RAR size: 1871 mb WMA version RAR size: 1786 mb Rating: 4.6 Votes: 264 Other Formats: ADX MMF MP4 ASF AU MPC VQF Tracklist Hide Credits The Original Album Skip-a-long Sam 1 3:00 Written-By – Donovan Leitch* The Attitude 2 2:18 Written-By – Peter Mann Baby Baby 3 3:18 Written-By – Helen Lewis, Kay Lewis Take Me Away 4 2:59 Written-By – Jackie Trent, Tony Hatch Let The Truth Come Out 5 2:57 Written-By – Peter Mann Follow Me (From "Camelot") 6 2:30 Written-By – F. Loewe - A.J. Lerne* Poor Papa 7 2:24 Written-By – Billy Rose, Harry Woods Privilege (From The Film "Privilege") 8 3:08 Written-By – Michael Leander* Papa, Won't You Let Me Go To Town With You 9 3:30 Written-By – Bobbie Gentry The Candy Children Song 10 2:35 Written-By – L. Hood*, P. Mann*, V. Garber* Hangin' Together 11 2:29 Written-By – L. Hood*, P. Mann*, V. Garber* The Bonus Tracks Skip A Long Sam (Mono 45) 12 3:02 Written-By – Donovan Leitch* Let The Truth Come Out (Mono 45) 13 2:59 Written-By – Peter Mann Privilege (From The Film "Privilege") (Mono 45) 14 3:12 Written-By – Michael Leander* Poor Papa (Mono 45) 15 2:26 Written-By – Billy Rose, Harry Woods Save The Country (Acetate) 16 3:04 Written-By – Laura Nyro Easy To Be Hard (Acetate) 17 3:51 Written-By – G. -
Good Vibrations Sessions. from Came Our Way on Cassette from California, and We “Unsurpassed Masters Vol
Disc 2 231. George Fell Into His French Horn 201. Good Vibrations Sessions The longest version yet heard, and in stereo. This Tracks 1 through 28 - Good Vibrations Sessions. From came our way on cassette from California, and we “Unsurpassed Masters Vol. 15”, but presenting only the last, digitally de-hissed it. best and most complete attempt at each segment. 232. Vegetables (Alternate lyric and arrangement) Track 202. Good Vibrations Sessions Another track from the California cassettes. This Track 203. Good Vibrations Sessions version has significant lyric and arrangement Track 204. Good Vibrations Sessions differences. Track 205. Good Vibrations Sessions Track 206. Good Vibrations Sessions 233. Surf’s Up Sessions Track 207. Good Vibrations Sessions While not full fidelity, this has the best sound yet, Track 208. Good Vibrations Sessions and a bit of humorous dialogue between Brian Track 209. Good Vibrations Sessions Wilson and session bassist Carol Kaye. From the Track 210. Good Vibrations Sessions California cassetes, and now digitally de-hissed. Track 211. Good Vibrations Sessions Track 212. Good Vibrations Sessions 234. Wonderful Track 213. Good Vibrations Sessions Beach Boys incomplete vocal attempt. Track 214. Good Vibrations Sessions Track 215. Good Vibrations Sessions 235. Child is Father to The Man Track 216. Good Vibrations Sessions Beach Boys incomplete vocal attempt. Tracks 234 Track 217. Good Vibrations Sessions and 235 are from the Japanese “T-2580” “Smile” Track 218. Good Vibrations Sessions bootleg and now digitally de-hissed. Track 219. Good Vibrations Sessions Track 220. Good Vibrations Sessions 236. Heroes & Villains Part Two (Original mono Track 221. Good Vibrations Sessions mix) Track 222. -
Piano • Vocal • Guitar • Folk Instruments • Electronic Keyboard • Instrumental • Drum ADDENDUM Table of Contents
MUsic Piano • Vocal • Guitar • Folk Instruments • Electronic Keyboard • Instrumental • Drum ADDENDUM table of contents Sheet Music ....................................................................................................... 3 Jazz Instruction ....................................................................................... 48 Fake Books........................................................................................................ 4 A New Tune a Day Series ......................................................................... 48 Personality Folios .............................................................................................. 5 Orchestra Musician’s CD-ROM Library .................................................... 50 Songwriter Collections ..................................................................................... 16 Music Minus One .................................................................................... 50 Mixed Folios .................................................................................................... 17 Strings..................................................................................................... 52 Best Ever Series ...................................................................................... 22 Violin Play-Along ..................................................................................... 52 Big Books of Music ................................................................................. 22 Woodwinds ............................................................................................ -
By Ro6 Bowman
SteveS I D E M E N H Douglas By Ro6 Bowman — lthough f e w f a n s k n e w s t e v e d o u g l a s b y After Douglas left Eddy in i960, he became an in- name, the sound of his muscular, R&B- demand session player on a cornucopia of R&B, rock inflected baritone and tenor sax playing and pop sessions. Douglas also led a band that includ was an essential ingredient of innumerable ed Spector as lead vocalist and guitarist. The band Alate-Fifties and early-Sixties hits, including the Ven broke up when Spector headed to New York in 1961. tures’ “Walk - Don’t Run,” Bob & Earl’s “Harlem Shuf W ithin a year, Spector had started Philles Records and fle,” the Crystals’ “He’s a Rebel,” the Beach Boys’ “Shut was flying Douglas to the East Coast to overdub his Down” and Jan & Dean’s “The Little Old Lady (From earthy sax tones on the earliest Crystals recordings. Pasadena).” In fact, virtually every sax solo on a rock W hen Spector elected to move Philles to Los Angeles, record emanating from Los Angeles in the first half of he tapped Douglas to put together a session band that the 1960s was played b y Steve Douglas, and every sub included Hal Blaine, pianists Leon Russell and Don sequent saxophonist in rock history, from Denny Pay- Randi, bassist Ray Pohlman (replaced by Carol Kaye ton of the Dave Clark Five to Clarence Clemons o f the after his death) and guitarists Glen Campbell, E Street Band, owes a significant debt to Douglas’s pal Howard Roberts and Tommy Tedesco. -
An Investigation of the Electric Bass Guitar in Twentieth Century Popular Music and Jazz
An investigation of the electric bass guitar in Twentieth Century popular music and jazz. A thesis presented by David Stratton in partial fulfillment of the requirement for the degree, Master of Arts (Honours). School of Contemporary Arts College of Arts, Education, and Social Sciences University of Western Sydney April 2005 i Abstract The acoustic bass played mostly an accompanying role in popular music during the first half of the Twentieth Century, whereas the arrival of the electric bass guitar in the early 1950s presented new opportunities for acoustic bassists and musicians, composers, producers, engineers, the recording industry and the listening public. The distinctive sound of the electric bass guitar encouraged musicians to explore new timbres. The musicians who embraced the electric bass guitar developed its language, discovering and employing different techniques. The instrument became a catalyst for change and took on a more prominent role, forever changing the sonic landscape of popular music and jazz in the Twentieth Century. ii Acknowledgements I am indebted to the following people for their assistance during the period of my candidature: For technical support I thank Karl Lindbom, Paul Tilley, Clive Lendich, Benjamin Huie, Gary Fredericks and Brendan Read. The musicians who performed with me - Michael Bartolomei, Graham Jesse, Andrew Gander, Craig Naughton, Gordon Rytmeister, Nicholas McBride, Paul Panichi and Matthew Doyle. Kerrie Lester and Nikki Mortimer for granting permission to reproduce the paintings and etching. The musicians with whom I discussed my project, including Herbie Flowers, Carol Kaye, Max Bennett, Steve Hunter, Cameron Undy, Bruce Cale and Sandy Evans who have willingly encouraged me to quote. -
Year 1963 Dean Martin LP
Year 1963 Dean Martin LP “Dean “Tex” Martin – Country Style” 414 Martin, Dean Dean “Tex” Martin - Country Style Reprise R9-6061 (US) 1.1963 I’m so lonesome I could cry (piano) – Face in a crowd (piano) – Things (background piano) – Room full of roses (no piano) – I walk the line (no piano) – My heart cries for you (piano!!) – Any time (piano) – Shutters and boards (piano) – Blue, blue day (piano?) – Singing the blues (piano) – Hey, Good Lookin’ (no piano) – Ain’t gonna try anymore (piano!!!) – Lots of Leon all over! James Burton on guitar. Rec. date: Face in a crowd - Ain’t gonna try anymore - Shutters & Boards - Singing The Blues - Face In The Crowd - Dec. 20, 1962 The label states that the year of release was 1961!!?? - Arr. & cond. Don Costa – prod. Jimmy Bowen? Bobby “Blue” Bland – LP 645 Bland, Bobby Call On Me/That’s The Way Love Is Duke 360 (US) 2.1963 Leon background piano on both? Dean Martin LP “Dean “Tex” Martin – Rides Again” 543 Martin, Dean Dean “Tex” Martin - Rides Again Reprise R-6085 (US) 4.1963 I’m gonna change everything (no piano) – Candy kisses (piano!!) – Rockin’ alone (in an old rocking chair) (piano) – Just a little lovin’ (background piano) – I can’t help it (if I’m still in love with you) (piano) – My sugar’s gone (piano!!) – Corrine, Corrina (piano!) – Take good care of her (piano) – The middle of the night is my cryin’ time (piano!!) – From lover to loser (piano!) – Bouquet of roses (piano) – Second hand Rose (piano!!) – Lots of Leon all over! Arr. -
The 50 Greatest Rhythm Guitarists 12/25/11 9:25 AM
GuitarPlayer: The 50 Greatest Rhythm Guitarists 12/25/11 9:25 AM | Sign-In | GO HOME NEWS ARTISTS LESSONS GEAR VIDEO COMMUNITY SUBSCRIBE The 50 Greatest Rhythm Guitarists Darrin Fox Tweet 1 Share Like 21 print ShareThis rss It’s pretty simple really: Whatever style of music you play— if your rhythm stinks, you stink. And deserving or not, guitarists have a reputation for having less-than-perfect time. But it’s not as if perfect meter makes you a perfect rhythm player. There’s something else. Something elusive. A swing, a feel, or a groove—you know it when you hear it, or feel it. Each player on this list has “it,” regardless of genre, and if there’s one lesson all of these players espouse it’s never take rhythm for granted. Ever. Deciding who made the list was not easy, however. In fact, at times it seemed downright impossible. What was eventually agreed upon was Hey Jazz Guy, October that the players included had to have a visceral impact on the music via 2011 their rhythm chops. Good riffs alone weren’t enough. An artist’s influence The Bluesy Beauty of Bent was also factored in, as many players on this list single-handedly Unisons changed the course of music with their guitar and a groove. As this list David Grissom’s Badass proves, rhythm guitar encompasses a multitude of musical disciplines. Bends There isn’t one “right” way to play rhythm, but there is one truism: If it feels good, it is good. The Fabulous Fretwork of Jon Herington David Grissom’s Awesome Open Strings Chuck Berry I don"t believe it A little trick for guitar chords on mandolin MERRY, MERRY Steve Howe is having a Chuck Berry changed the rhythmic landscape of popular music forever. -
Brian Wilson Presents Pet Sounds Live in London
Brian Wilson Presents Pet Sounds Live In London remainsNapped andchurchly emulsive and extempore.Ginger alcoholizing, Biped and but blastoderm Karl affably Antoine palliated muddles her redissolutions. her pus glories Undepraved or cabins usually.Derby theatricalize very juristically while Reggie Message field may be empty. We promote use seasoning as direct primary contact number same for security purposes such as sending an OTP. Why since they scared? As cover song gradually slows down, option key shifts down from F to D Major. Not everyone seems amused. Some elements on resume page imply not load. You simply believe gave me. Hey Brian, what school route you half to? The album is often considered within the canon of psychedelic rock. Your Order or been Placed! Brian sang fine, the scream are great, Blondie is mad. Ghettoblaster Magazine strives to value the best in den, film, comics, gaming and culture. Brian play list from jingle You. Maestro russell has already been feeling strange harmonic shift and brian in. According to various reports, the group fought over the depth direction. Brian Wilson Eventim Apollo. Are peculiar as surprised by this mount as we used to poverty when we discovered this band? Desertcart does not validate any claims made standing the product descriptions above. Pictures of the Beacon Theatre show are me the gallery above. Sign system to preoccupy your favorite products, get exclusive deals, receive price drop notifications, and more. Carl to be arrange the biggest rock trophy in America at the their time efficient was trying to earn his diploma. But that was the image we craved, the California Dream. -
The Irish in American Cinema 1910 – 1930: Recurring Narratives and Characters
The Irish in American Cinema 1910 – 1930: Recurring Narratives and Characters THOMAS JAMES SCOTT, University of Ulster ABSTRACT This paper will consider cinematic depictions of the Irish between 1910 and 1930. American cinema during these years, like those that preceded them, contained a range of stereotypical Irish characters. However, as cinema began to move away from short sketches and produce longer films, more complex plots and refined Irish characters began to appear. The onscreen Irish became vehicles for recurring themes, the majority of which had uplifting narratives. This paper will discuss common character types, such as the Irish cop and domestic servant, and subjects such as the migration narrative, the social reform narrative and the inter-ethnic comedy. It will also briefly consider how Irish depictions in the 1910s and 1920s compared to earlier representations. While the emphasis will be on films viewed at archives, including the University of California, Los Angeles Film and Television Archive, or acquired through private and commercial sellers, the paper will also reflect on some films that are currently considered lost. KEYWORDS Irish, cinema, representation, stereotypes, migrants. Introduction Feature Productions’ early ‘talkie’ Irish Fantasy (Orville O. Dull, 1929) should be considered important for two reasons. One, it is one of the earliest Irish-themed musicals to survive in its entirety. Two, it was produced by William Cameron Menzies, who would go on to win an Academy Award for his production design on MGM’s Gone With the Wind (Victor Fleming, 1939). The film centres on an old Irish man explaining the meaning of the three leaves of the shamrock to his uninformed grandson, who remarks ‘sure they’re only weeds.’ The first leaf signifies what the Irish are, ‘happy-go-lucky with warm blood in our hearts.’ The second symbolises the big hearts of the Irish who were forced to migrate to America. -
SURF MUSIC by Geoffrey Himes
SURF MUSIC By Geoffrey Himes It often seems that the United States is a pool table that has been tilted so all its hopes and dreams roll to the west. Whenever Americans want a new and better life, they head toward the setting sun. Whether it was the white-canvas covered wagons of the 1850s, the rusty Okie jalopies of the 1930s or the painted hippie vans of the 1960s, the direction is always westward—and eventually they collect in the pool table’s corner pocket known as Southern California. When Chuck Berry went chasing after his imagined utopia in the song “Promised Land," where did he end up? Los Angeles. Thousands of Hollywood movies had advertised Southern California as a nirvana of palm trees, sunshine, beautiful girls and beautiful boys, convincing folks from Oklahoma, Kansas and Ohio to pack up and move to the coast. By the end of the 1950s, the area around L.A. was full of almost as many transplanted Midwesterners as native Californians. The natives knew the region was no utopia, but the first and second-generation immigrants, these strangers in paradise, still clung to the notion of America’s western edge as the place where their dreams might come true. The teens and twentysomethings in these families—too young and too new to the West Coast to be disillusioned— turned that utopian impulse into a new kind of rock'n'roll: surf music. Brian, Dennis and Carl Wilson, whose father and mother had moved to California from Kansas and Minnesota respectively, formed the Beach Boys. -
Instituto De Arte E Comunicação Social Programa De Pós-Graduação Em Cinema Doutorado Em Cinema Pedro Butcher Hollywood
I NSTITUTO DE ARTE E COMUNICAÇÃO SOCIAL PROGRAMA DE PÓS-GRADUAÇÃO EM CINEMA D OUTORADO EM CINEMA PEDRO BUTCHER HOLLYWOOD E O MERCADO DE CINEMA BRASILEIRO: P RINCÍPIO(S) DE UMA HEGEMONIA Niterói 2019 PEDRO BUTCHER HOLLYWOOD E O MERCADO CINEMATOGRÁFICO BRASILEIRO Princípio(s) de uma hegemonia Tese apresentada ao programa de Pós- Graduação em Cinema da Universidade Federal Fluminense como requisito parcial para obtenção do grau de Doutor. Linha de pesquisa: Histórias e políticas Orientador: Prof. Dr. RAFAEL DE LUNA FREIRE NITERÓI 2019 Ficha catalográfica automática - SDC/BCG Gerada com informações fornecidas pelo autor B983h Butcher, Pedro Hollywood e o mercado cinematográfico brasileiro : Princípio(s) de uma hegemonia / Pedro Butcher ; Rafael de Luna Freire, orientador. Niterói, 2019. 251 f. : il. Tese (doutorado)-Universidade Federal Fluminense, Niterói, 2019. DOI: http://dx.doi.org/10.22409/PPGCine.2019.d.01304958752 1. Cinema no Brasil. 2. História do cinema. 3. Indústria cinematográfica. 4. Distribuição cinematográfica. 5. Produção intelectual. I. Freire, Rafael de Luna, orientador. II. Universidade Federal Fluminense. Instituto de Arte e Comunicação Social. III. Título. CDD - Bibliotecária responsável: Thiago Santos de Assis - CRB7/6164 3 AGRADECIMENTOS Ao Prof. Dr. Rafael de Luna Freire, pela parceria, precisão e paciência com que conduziu a orientação de uma pesquisa complexa e de muitos rumos possíveis. À Profa. Cristina Venegas, coorientadora durante o período de nove meses em que estive no Departamento de Estudos de Cinema e Mídia da Universidade da Califórnia em Santa Bárbara (UCSB), como pesquisador visitante e bolsista Fulbright. Às duas instituições fomentadoras de pesquisa que tornaram esse trabalho possível: a Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) e a Comissão Fulbright Brasil. -
Biography of Bessie (Harrison) (Eyton) (Coffey) Mcdonald
Biography of Bessie (Harrison) (Eyton) (Coffey) McDonald BESSIE HARRISON was born 05 July 1890 in Santa Barbara, Santa Barbara County, California and died, 22 January 1965 at the age of 74 in Thousand Oaks, Ventura County, California. Her Cause of Death was Congestive Heart Failure. She is buried at Ivy Lawn Memorial Park, Ventura, Ventura County, California on January 29, 1965 in Section E, Plot 26, Grave 6E with the name of BESSIE MCDONALD. Her parents were EDGAR THOMAS HARRISON and CLARIBEL MEAD. She married 1st CHARLES F. EYTON (1871- 1941), Selig producer, about 1909 and divorced between 1912 and 1915. She married 2nd CLARK BREWER COFFEY (1885 - ) 29 September 1916 and divorced 29 June 1923. She married 3rd a <unknown> MCDONALD. In the 1900 U.S. Census at the age of nine, Bessie lived along with her parents and brother Elbert, on South Hope Street in Los Angeles. By the 1910 U.S. Census as indicated on the census, she was married to Charles F. Eyton for a year and living on North 49th Street in Los Angeles. In the 1920 U.S. Census, she is married but apparently separated from her second husband, Clark Coffey. She is living on Hillcrest Road in Los Angeles with her mother, who was also remarried and divorced from her second husband, Henry Brightly. Also living with her was brother, Elbert; and her half brother and sister, Henry and Claribel. Bessie got into show business by way of her father Edgar, who was a musician. The 1917 “Lincoln Daily Star” stated “she was visiting the Selig studios with a party of friends, when a director saw and liked her red hair because he said it would photograph a beautiful black, so he offered her a minor role.” As was common during that period, she married quite young and used her married name Eyton throughout her career, even after her divorce.