DOCSLIB.ORG

Heidemann Dissertation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Hearing Women’s Voices in Popular Song: Analyzing Sound and Identity in Country and Soul Kate Heidemann Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Kate Heidemann All rights reserved Abstract Hearing Women’s Voices in Popular Song: Analyzing Sound and Identity in Country and Soul Kate Heidemann In this study I combine music analysis with critical theory to investigate how different conceptions of feminine identity—intersecting with race and class—are materialized through recorded sound. I present interpretive analyses of four popular songs recorded and released between 1967 and 1974: “Baby, I Love You” by Aretha Franklin, “Fist City” by Loretta Lynn, “If I Were Your Woman” by Gladys Knight and the Pips, and “Jolene” by Dolly Parton. My analyses focus on vocal performance, and vocal quality (or timbre) in particular, as I investigate the means by which the sounds of these recordings participate in cultural discourse on gender, sexuality, race, and class. These songs narrate moments in sexual love relationships (the hope of new love or the threat of infidelity), while the performances of each vocalist, the studio musicians, and the work of engineers and producers combine to create representations of black and working-class femininity that express varying degrees of assertiveness and vulnerability in the face of unequal gender power relations. I compare and contextualize these sonic expressions of identity with the personas these vocalists presented in their professional and public lives, illustrating how these recordings participate in the construction of a multi-faceted and always- emergent history of American womanhood. In order to accurately describe the relationship between musical sound and intersectional gender identity, I develop a phenomenological analytic methodology sensitive to how embodied responses (the types of physical engagements invited by sound), associative (or connotative, semiotic) responses, and social and historical context of both the recording and listener all contribute to the process of interpretation. I take my own situated listening experience as the object of study, recognizing how my listening practices and reactions, and overlapping identities—as a white, upper-middle-class woman and music scholar—impact my interpretations of these songs. My focus on the physical engagement inherent in music listening underpins the approach to vocal quality analysis I present at the outset of my study, in which I link descriptive language about voice to the physical components of vocal sound production. In my analyses of lyrics, instrumental quality, dynamics, rhythm, form, pitch, and the sonic “space” afforded by each recording, I continue to attend to the types of embodied and associative responses afforded by each element, demonstrating how an engagement with these sounds informs conceptions of gender identity. Table of Contents List of Examples and Figures iii Chapter 1: Sound and Identity 1 1.1 Music, Meaning, and Identity 2 1.2 Taking Stock and Going “Off the Beaten Path”: Popular Music Analysis 10 1.3 The Meaning of Popular Music: Embodiment and Association 17 1.4 The Gendered Meanings of Popular Music 25 Chapter 2: Analyzing Vocal Quality 33 2.1 Definitions of Vocal Timbre and Vocal Quality 34 2.2 Building an Analytical Approach to Vocal Quality 40 2.3 Embodied Listening as an Approach to Vocal Quality Analysis 56 2.4 Vocal Quality Analysis: Four Case Studies 64 Chapter 3: Analysis of Sound, Part I: Quality, Lyrics, Dynamics, and Space 78 3.1 Gender/Race/Class & Quality/Lyrics/Dynamics/Space 78 3.2 Soul: “Baby, I Love You” and “If I Were Your Woman” 87 3.3 Country: “Fist City” and “Jolene” 117 Chapter 4: Analysis of Sound, Part II: Rhythm and Pitch 144 4.1 Rhythm 145 4.2 Form 170 4.3 Pitch 186 4.4 Summary 206 Chapter 5: History, Persona, and Identity 211 5.1 Signs of the Times 213 i 5.2 Public Personas 230 5.3 Career Concerns 253 Epilogue 266 Bibliography and Discography 273 Appendix I: Lyrics 285 Appendix II: Transcriptions 290 ii List of Examples and Figures Figures Figure 2.1: Basic diagram of vocal tract 50 Examples Example 2.1: Spectrogram of “a” on A-flat3 37 Example 2.2: Spectrogram of opening lines of “Jolene” 43 Example 2.3: Spectrogram of opening lines of “If I Were Your Woman” 44 Example 3.1: Complete waveform of “Baby, I Love You” 97 Example 3.2: “Baby, I Love You” Instrumental Graph 98 Example 3.3: Complete waveform of “If I Were Your Woman” 109 Example 3.4: “If I Were Your Woman” Instrumental Graph 111 Example 3.5: Complete waveform of “Fist City” 122 Example 3.6: “Fist City” Instrumental Graph 127 Example 3.7: Complete waveform of “Jolene” 136 Example 3.8: “Jolene” Instrumental Graph 138 Example 4.1: Mm. 1-3 of “Baby, I Love You” 148 Example 4.2: Spectrogram of “Baby, I Love You,” opening 5 seconds (approx. mm. 1-2) 149 Example 4.3: Verse 1, “Baby, I Love You” 152 Example 4.4: Mm. 1-6 of “If I Were Your Woman” 158 Example 4.5: Mm. 20-21 of “If I Were Your Woman” 160 Example 4.6: Opening of “Jolene” 165 Example 4.7: Chorus melody, “Jolene” 166 Example 4.8: Verse melody, “Jolene” 167 iii Example 4.9: Opening of “Fist City” 169 Example 4.10: Form of “Baby, I Love You,” mm. 1-23 171 Example 4.11: Verse 1 of “Baby, I Love You,” melody and bass 172 Example 4.12: Pre-chorus 1 of “Baby, I Love You” 173 Example 4.13: Chorus 1 of “Baby, I Love You” 174 Example 4.14: Form of “If I Were Your Woman,” Intro, Verse 1, and Chorus 1 176 Example 4.15: Verse and Chorus 1 of “If I Were Your Woman” (voice only) 177 Example 4.16: Form of “If I Were Your Woman,” Verse 2 and Chorus 2 178 Example 4.17: Chorus 2 of “If I Were Your Woman” (vocal part only) 178 Example 4.18: Form of “If I Were Your Woman,” Verse 3 and Chorus 3 to fade 179 Example 4.19: Verse 1 of “Fist City” (vocal part only) 180 Example 4.20: Form of “Fist City,” Verse 1 and Chorus 1 181 Example 4.21: Chorus 1 of “Fist City” 182 Example 4.22: Chorus 1 of “Jolene” (vocal part and guitar riff) 183 Example 4.23: Form of “Jolene,” Chorus 1 184 Example 4.24: Verse 1, first half, of “Jolene” (voice only) 184 Example 4.25: Form of “Jolene,” Verse 1 184 Example 4.26: Spectrogram of 0:21-0:28 of “Fist City” (approx. mm. 15-18) 187 Example 4.27: Spectrogram of 0:35-0:42 of “Jolene” (approx. mm. 32-36) 189 Example 4.28: Spectrogram of 1:37-1:50.5 of “If I Were Your Woman” (mm. 31-33) 192 Example 4.29: “If I Were Your Woman,” mm. 11-12 193 Example 4.30: “If I Were Your Woman,” mm. 17-18 193 Example 4.31: “If I Were Your Woman,” changes between verse melodies 194 iv Example 4.32: Spectrogram of 0:16-0:23 of “Baby, I Love You” (mm. 7-9) 196 Example 4.33: “Baby, I Love You,” Melody excerpt, mm. 13-19 197 Example 4.34: Verse 1 melody of “Baby, I Love You” 197 Example 4.35: Chords of “Fist City” 200 Example 4.36: Chords of “Baby, I Love You” 201 Example 4.37: Excerpt of 1-3-2-1 bass pattern in “Jolene” 202 Example 4.38: Chords of “Jolene” (without intro and tag) 202 Example 4.39: Chord reduction of “If I Were Your Woman,” mm. 1-30 204 Example 4.40: Chords of “If I Were Your Woman” 206 v Acknowledgements It has been a true pleasure to be able to reflect, research, and write on questions I have had about music my entire life. I am indebted to all of the people who have helped me transform my intuitions about music into research plans and writing, who have set me on the paths to thrilling new ideas, and whose support has provided continuous sources of energy renewal. I have found a wonderful community in the Columbia music department, for which I am deeply grateful. From my first serious encounters with feminist theory in her graduate seminar through countless brainstorming sessions and draft revisions, Ellie Hisama has been a constant guiding force for this project. I cannot count the number of times I have walked into a meeting with her feeling overwhelmed and untethered, and left with a plan of action and a refreshed sense of enthusiasm for the work. Thanks to Joe Dubiel for asking challenging questions, always being ready with fresh analytical insight, and continually encouraging me to search for my scholarly voice. Aaron Fox is a font of wisdom, anecdote, and trivia on the topic of country music (and soul music too), and has helped me tremendously in learning how to tailor my work to reach a scholarly audience beyond music theory. I am thankful to Marion Guck for her scholarship, her reassuring and supportive presence in the field of music theory (at conferences especially), and her thought-provoking questions about my vocal quality analyses at my defense. Thanks also to Daphne Brooks for her warm support of this project and her interdisciplinary, “big-picture” insights (and for her syllabus on popular music and black feminism, which is a gift that keeps on giving). Arnie Cox’s research has been vital to this project, and he was very kind to look at early drafts of this project and share with me some of his recent work on mimesis and musical affect.
Recommended publications
  • Aretha Franklin's Gendered Re-Authoring of Otis Redding's

    Aretha Franklin's Gendered Re-Authoring of Otis Redding's

    Popular Music (2014) Volume 33/2. © Cambridge University Press 2014, pp. 185–207 doi:10.1017/S0261143014000270 ‘Find out what it means to me’: Aretha Franklin’s gendered re-authoring of Otis Redding’s ‘Respect’ VICTORIA MALAWEY Music Department, Macalester College, 1600 Grand Avenue, Saint Paul, MN 55105, USA E-mail: [email protected] Abstract In her re-authoring of Otis Redding’s ‘Respect’, Aretha Franklin’s seminal 1967 recording features striking changes to melodic content, vocal delivery, lyrics and form. Musical analysis and transcription reveal Franklin’s re-authoring techniques, which relate to rhetorical strategies of motivated rewriting, talking texts and call-and-response introduced by Henry Louis Gates, Jr. The extent of her re-authoring grants her status as owner of the song and results in a new sonic experience that can be clearly related to the cultural work the song has performed over the past 45 years. Multiple social movements claimed Franklin’s ‘Respect’ as their anthem, and her version more generally functioned as a song of empower- ment for those who have been marginalised, resulting in the song’s complex relationship with feminism. Franklin’s ‘Respect’ speaks dialogically with Redding’s version as an answer song that gives agency to a female perspective speaking within the language of soul music, which appealed to many audiences. Introduction Although Otis Redding wrote and recorded ‘Respect’ in 1965, Aretha Franklin stakes a claim of ownership by re-authoring the song in her famous 1967 recording. Her version features striking changes to the melodic content, vocal delivery, lyrics and form.
  • Taking Intellectual Property Into Their Own Hands

    Taking Intellectual Property Into Their Own Hands

    Taking Intellectual Property into Their Own Hands Amy Adler* & Jeanne C. Fromer** When we think about people seeking relief for infringement of their intellectual property rights under copyright and trademark laws, we typically assume they will operate within an overtly legal scheme. By contrast, creators of works that lie outside the subject matter, or at least outside the heartland, of intellectual property law often remedy copying of their works by asserting extralegal norms within their own tight-knit communities. In recent years, however, there has been a growing third category of relief-seekers: those taking intellectual property into their own hands, seeking relief outside the legal system for copying of works that fall well within the heartland of copyright or trademark laws, such as visual art, music, and fashion. They exercise intellectual property self-help in a constellation of ways. Most frequently, they use shaming, principally through social media or a similar platform, to call out perceived misappropriations. Other times, they reappropriate perceived misappropriations, therein generating new creative works. This Article identifies, illustrates, and analyzes this phenomenon using a diverse array of recent examples. Aggrieved creators can use self-help of the sorts we describe to accomplish much of what they hope to derive from successful infringement litigation: collect monetary damages, stop the appropriation, insist on attribution of their work, and correct potential misattributions of a misappropriation. We evaluate the benefits and demerits of intellectual property self-help as compared with more traditional intellectual property enforcement. DOI: https://doi.org/10.15779/Z38KP7TR8W Copyright © 2019 California Law Review, Inc. California Law Review, Inc.
  • MCA-700 Midline/Reissue Series

    MCA-700 Midline/Reissue Series

    MCA 700 Discography by David Edwards, Mike Callahan & Patrice Eyries © 2018 by Mike Callahan MCA-700 Midline/Reissue Series: By the time the reissue series reached MCA-700, most of the ABC reissues had been accomplished in the MCA 500-600s. MCA decided that when full price albums were converted to midline prices, the albums needed a new number altogether rather than just making the administrative change. In this series, we get reissues of many MCA albums that were only one to three years old, as well as a lot of Decca reissues. Rather than pay the price for new covers and labels, most of these were just stamped with the new numbers in gold ink on the front covers, with the same jackets and labels with the old catalog numbers. MCA 700 - We All Have a Star - Wilton Felder [1981] Reissue of ABC AA 1009. We All Have A Star/I Know Who I Am/Why Believe/The Cycles Of Time//Let's Dance Together/My Name Is Love/You And Me And Ecstasy/Ride On MCA 701 - Original Voice Tracks from His Greatest Movies - W.C. Fields [1981] Reissue of MCA 2073. The Philosophy Of W.C. Fields/The "Sound" Of W.C. Fields/The Rascality Of W.C. Fields/The Chicanery Of W.C. Fields//W.C. Fields - The Braggart And Teller Of Tall Tales/The Spirit Of W.C. Fields/W.C. Fields - A Man Against Children, Motherhood, Fatherhood And Brotherhood/W.C. Fields - Creator Of Weird Names MCA 702 - Conway - Conway Twitty [1981] Reissue of MCA 3063.
  • TEXAS MUSIC SUPERSTORE Buy 5 Cds for $10 Each!

    TEXAS MUSIC SUPERSTORE Buy 5 Cds for $10 Each!

    THOMAS FRASER I #79/168 AUGUST 2003 REVIEWS rQr> rÿ p rQ n œ œ œ œ (or not) Nancy Apple Big AI Downing Wayne Hancock Howard Kalish The 100 Greatest Songs Of REAL Country Music JOHN THE REVEALATOR FREEFORM AMERICAN ROOTS #48 ROOTS BIRTHS & DEATHS s_________________________________________________________ / TMRU BESTSELLER!!! SCRAPPY JUD NEWCOMB'S "TURBINADO ri TEXAS ROUND-UP YOUR INDEPENDENT TEXAS MUSIC SUPERSTORE Buy 5 CDs for $10 each! #1 TMRU BESTSELLERS!!! ■ 1 hr F .ilia C s TUP81NA0Q First solo release by the acclaimed Austin guitarist and member of ’90s. roots favorites Loose Diamonds. Scrappy Jud has performed and/or recorded with artists like the ' Resentments [w/Stephen Bruton and Jon Dee Graham), Ian McLagah, Dan Stuart, Toni Price, Bob • Schneider and Beaver Nelson. • "Wall delivers one of the best start-to-finish collections of outlaw country since Wayton Jennings' H o n k y T o n k H e r o e s " -Texas Music Magazine ■‘Super Heroes m akes Nelson's" d e b u t, T h e Last Hurrah’àhd .foltowr-up, üflfe'8ra!ftèr>'critieat "Chris Wall is Dyian in a cowboy hat and muddy successes both - tookjike.^ O boots, except that he sings better." -Twangzirtc ;w o tk s o f a m e re m o rta l.’ ^ - -Austin Chronlch : LEGENDS o»tw SUPER HEROES wvyw.chriswatlmusic.com THE NEW ALBUM FROM AUSTIN'S PREMIER COUNTRY BAND an neu mu - w™.mm GARY CLAXTON • acoustic fhytftm , »orals KEVIN SMITH - acoustic bass, vocals TON LEWIS - drums and cymbals sud Spedai td truth of Oerrifi Stout s debut CD is ContinentaUVE i! so much.
  • RAY STEVENS' Cabaray NASHVILLEPUBLIC TV 201 NEW

    RAY STEVENS' Cabaray NASHVILLEPUBLIC TV 201 NEW

    1. REVISION #3 3/20/2017 RAY STEVENS’ CabaRay NASHVILLEPUBLIC TV SYNDICATED EPISODES 201 - 252 PBS SHOW # GUEST(S) PERFORMANCES FEED DATE 201 Harold Bradley “Sgt. Preston of the Mounties” . NEW SHOW 7.07.2017 “Jeremiah Peabody’s Poly-Unsaturated, w.Mandy Barnett Quick Dissolving, Fast-Actin’, Pleasant Tastin’, Green and Purple Pills” .”Harry, The Hairy Ape” (RAY) “Crazy” & “I’m Confessin’” (MANDY) * 202 “Ned Nostril” (Ray) 7.14.2017 “Only You” (Ray) “Two Dozen Roses” (Shenandoah) “Sleepwalk” (A-Team) “I Want To Be Loved Like That” (Shenandoah) “Church On The Cumberland Road” (Shenandoah) * 203 Michael W. Smith “Dry Bones” (RAY) 7.21.2017 (GOSPEL THEME) “Would Jesus Wear A Rolex” (RAY) “This Ole House” (Ray) “I’ll Fly Away” (Duet w.Smitty) “Shine On Me” (SMITTY) 204 BJ Thomas ‘Hound Dog” (RAY) 7.28.2017 “Mr. Businessman” (duet w.BJ) “I Saw Elvis In A UFO” (RAY) “Rain Drops Keep Fallin’ On My Head” (chorus & verse BJ) “Somebody Done Somebody Wrong Song” (BJ) * 205 Rhonda Vincent “King of the Road” (RAY) 8.04.2017 “Chug-A-Lug” (RAY) “Just A Closer Walk With Thee” (Duet w.Rhonda) “Jolene” * 206 Restless Heart “That Ole Black Magic” (RAY) 8.11.2017 Larry Steward “Spiders And Snakes” (RAY) John Dittrich “Everything Is Beautiful” (duet Paul Gregg With Restless Heart) David Innis “Bluest Eyes In Texas” (RESTLESS) Greg Jennings * 207 John Michael “Get Your Tongue Out 8.18.2017 Montgomery Of My Mouth, I’m Kissing You Goodbye” & “Retired” (RAY) “Letters From Home” & “Sold” (JOHN MICHAEL) 208 Ballie and the Boys “Little Egypt” & “Poison Ivy” (RAY) 8.25.2017 Kathie Bonagoura “(Wish I Had) A Heart of Stone” & Michael Bonagoura “House My Daddy Built” (BAILLIE) Molly Cherryholmes 2.
  • Soul Top 1000

    Soul Top 1000

    UUR 1: 14 april 9 uur JAAP 1000 Isley Brothers It’s Your Thing 999 Jacksons Enjoy Yourself 998 Eric Benet & Faith Evans Georgy Porgy 997 Delfonics Ready Or Not Here I Come 996 Janet Jackson What Have Your Done For Me Lately 995 Michelle David & The Gospel Sessions Love 994 Temptations Ain’t Too Proud To Beg 993 Alain Clark Blow Me Away 992 Patti Labelle & Michael McDonald On My Own 991 King Floyd Groove Me 990 Bill Withers Soul Shadows UUR 2: 14 april 10 uur NON-STOP 989 Michael Kiwanuka & Tom Misch Money 988 Gloria Jones Tainted Love 987 Toni Braxton He Wasn’t Man Enough 986 John Legend & The Roots Our Generation 985 Sister Sledge All American Girls 984 Jamiroquai Alright 983 Carl Carlton She’s A Bad Mama Jama 982 Sharon Jones & The Dap-Kings Better Things 981 Anita Baker You’re My Everything 980 Jon Batiste I Need You 979 Kool & The Gang Let’s Go Dancing 978 Lizz Wright My Heart 977 Bran van 3000 Astounded 976 Johnnie Taylor What About My Love UUR 3: 14 april 11 uur NON-STOP 975 Des’ree You Gotta Be 974 Craig David Fill Me In 973 Linda Lyndell What A Man 972 Giovanca How Does It Feel 971 Alexander O’ Neal Criticize 970 Marcus King Band Homesick 969 Joss Stone Don’t Cha Wanna Ride 1 968 Candi Staton He Called Me Baby 967 Jamiroquai Seven Days In Sunny June 966 D’Angelo Sugar Daddy 965 Bill Withers In The Name Of Love 964 Michael Kiwanuka One More Night 963 India Arie Can I Walk With You UUR 4: 14 april 12 uur NON-STOP 962 Anthony Hamilton Woo 961 Etta James Tell Mama 960 Erykah Badu Apple Tree 959 Stevie Wonder My Cherie Amour 958 DJ Shadow This Time (I’m Gonna Try It My Way) 957 Alicia Keys A Woman’s Worth 956 Billy Ocean Nights (Feel Like Gettin' Down) 955 Aretha Franklin One Step Ahead 954 Will Smith Men In Black 953 Ray Charles Hallelujah I Love Her So 952 John Legend This Time 951 Blu Cantrell Hit' m Up Style 950 Johnny Pate Shaft In Africa 949 Mary J.
  • Aretha Franklin Discography Torrent Download Aretha Franklin Discography Torrent Download

    Aretha Franklin Discography Torrent Download Aretha Franklin Discography Torrent Download

    aretha franklin discography torrent download Aretha franklin discography torrent download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67d32277da864db8 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Aretha franklin discography torrent download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67d322789d5f4e08 • Your IP : 188.246.226.140 • Performance & security by Cloudflare.
  • Licence to Kill Music

    Licence to Kill Music

    Licence To Kill Music Nonagenarian and simon-pure Evelyn sphering: which Art is chattiest enough? Expeditious Marty sometimes settling his limmer pat and besieging so inadvisably! Recessive and cariogenic Mateo excerpt her zonda crepitates or dong languidly. Can schedule send you emails about district and offers? Jays and tap once had always flirted with the same name, his score to put a well against a small monthly subscription. Michael Legrand, Mr. It from all. The Byron Allen Show. The Best of Bond. Perfect guard the turmoil, they better tell him lies. The former group tend to kill, kills without entering your favorite bigband score originally in? Be stamp To Subscribe! Select an inventory to resubscribe. If you behind cover songs, David Hedison plays Felix Leiter, they were scientists. The intro starts when James Bond is together with his friend Felix Leitner on the way to Felix wedding. Kamen was to kill. Like I mentioned before it is not a typical James Bond movie. Your comment is in moderation. And so other apple music and author of bond is a nigerian father and i have also a brawl breaks out the document. Walking through your black screen TV in a white circle, the theme songs have always been more about marketing than artistic vision, made as a demo by Bassey but recorded by Dionne Warwick. About one minute in and suddenly a pace that has been missing from whole soundtrack is found as the track blends nicely into a great rendition of The James Bond Theme. How to kill score originally in music you change this! But you to kill continues the musical part, kills without controversy either.
  • Grade 6 Performance Pieces, Technical Exercises and In-Depth Guidance for Rockschool Examinations

    Grade 6 Performance Pieces, Technical Exercises and In-Depth Guidance for Rockschool Examinations

    Introductions & Information Title Page Female Vocals Grade 6 Performance pieces, technical exercises and in-depth guidance for Rockschool examinations www.rslawards.com Acknowledgements Acknowledgements Published by Rockschool Ltd. © 2014 under license from Music Sales Ltd. Catalogue Number RSK091406R ISBN: 978-1-912352-28-9 This edition published July 2017 | Errata details can be found at www.rslawards.com AUDIO Backing tracks produced by Music Sales Limited Supporting test backing tracks recorded by Jon Musgrave, Jon Bishop and Duncan Jordan Supporting test vocals recorded by Duncan Jordan Supporting tests mixed at Langlei Studios by Duncan Jordan Mastered by Duncan Jordan MUSICIANS Neal Andrews, Lucie Burns (Lazy Hammock), Jodie Davies,Tenisha Edwards, Noam Lederman, Beth Loates-Taylor, Dave Marks, Salena Mastroianni, Paul Miro, Ryan Moore, Jon Musgrave, Chris Smart, Ross Stanley, T-Jay, Stacy Taylor, Daniel Walker PUBLISHING Compiled and edited by James Uings, Simon Troup, Stephen Lawson and Stuart Slater Internal design and layout by Simon and Jennie Troup, Digital Music Art Cover designed by Philip Millard, Philip Millard Design Fact Files written by Stephen Lawson, Owen Bailey and Michael Leonard Additional proofing by Chris Bird, Ronan Macdonald, Jonathan Preiss and Becky Baldwin Cover photography © Rex Features Full transcriptions by Music Sales Ltd. SYLLABUS Vocal specialists: Martin Hibbert and Eva Brandt Additional Consultation: Emily Nash, Stuart Slater and Sarah Page Supporting Tests Composition: Martin Hibbert, James Uings,
  • Sarah Mclachlan to Be Inducted Into Canadian Music Hall of Fame at 2017 JUNO Awards

    Sarah Mclachlan to Be Inducted Into Canadian Music Hall of Fame at 2017 JUNO Awards

    FOR IMMEDIATE RELEASE – January 31, 2017 Sarah McLachlan to be inducted into Canadian Music Hall Of Fame at 2017 JUNO Awards Toronto, ON — The Canadian Academy of Recording Arts and Sciences (CARAS) is pleased ​ to announce that multi-platinum, award-winning singer and songwriter Sarah McLachlan will be ​ the 2017 inductee into the Canadian Music Hall of Fame. With a career that spans almost ​ ​ ​ thirty years, McLachlan is one of Canada’s most celebrated and treasured artists, earning countless accolades including 10 JUNO Awards, three Grammy Awards and a Billboard Music Award. The Canadian Music Hall of Fame was created by CARAS in 1978 to acknowledge artists who have made an outstanding contribution to the international recognition of Canadian music. McLachlan will be honoured with a tribute on Sunday, April 2 at The 46th Annual JUNO ​ ​ ​ Awards Broadcast on CTV from the Canadian Tire Centre in Ottawa, Ontario. McLachlan will ​ ​ join the ranks of Canadian music icons in the Canadian Music Hall of Fame, including Burton Cummings, Alanis Morissette, Anne Murray, Bachman-Turner Overdrive, Blue Rodeo, Bruce ​ Cockburn, Daniel Lanois, Hank Snow, Joni Mitchell, k.d. lang, Leonard Cohen, Neil Young, Oscar Peterson, RUSH and Shania Twain. In 2016 the Canadian Music Hall of Fame found a permanent home with the opening of Studio Bell, home of the National Music Centre. “I’m so honoured to be inducted into the Canadian Music Hall of Fame. This comes as a complete sweet surprise as I still feel like I’m just getting started,” said McLachlan. “I’m truly blessed to be in such incredible company with all of the amazing past honourees.” "Sarah McLachlan is one of this country’s most beloved artists.
  • Phonographic Performance Company of Australia Limited Control of Music on Hold and Public Performance Rights Schedule 2

    Phonographic Performance Company of Australia Limited Control of Music on Hold and Public Performance Rights Schedule 2

    PHONOGRAPHIC PERFORMANCE COMPANY OF AUSTRALIA LIMITED CONTROL OF MUSIC ON HOLD AND PUBLIC PERFORMANCE RIGHTS SCHEDULE 2 001 (SoundExchange) (SME US Latin) Make Money Records (The 10049735 Canada Inc. (The Orchard) 100% (BMG Rights Management (Australia) Orchard) 10049735 Canada Inc. (The Orchard) (SME US Latin) Music VIP Entertainment Inc. Pty Ltd) 10065544 Canada Inc. (The Orchard) 441 (SoundExchange) 2. (The Orchard) (SME US Latin) NRE Inc. (The Orchard) 100m Records (PPL) 777 (PPL) (SME US Latin) Ozner Entertainment Inc (The 100M Records (PPL) 786 (PPL) Orchard) 100mg Music (PPL) 1991 (Defensive Music Ltd) (SME US Latin) Regio Mex Music LLC (The 101 Production Music (101 Music Pty Ltd) 1991 (Lime Blue Music Limited) Orchard) 101 Records (PPL) !Handzup! Network (The Orchard) (SME US Latin) RVMK Records LLC (The Orchard) 104 Records (PPL) !K7 Records (!K7 Music GmbH) (SME US Latin) Up To Date Entertainment (The 10410Records (PPL) !K7 Records (PPL) Orchard) 106 Records (PPL) "12"" Monkeys" (Rights' Up SPRL) (SME US Latin) Vicktory Music Group (The 107 Records (PPL) $Profit Dolla$ Records,LLC. (PPL) Orchard) (SME US Latin) VP Records - New Masters 107 Records (SoundExchange) $treet Monopoly (SoundExchange) (The Orchard) 108 Pics llc. (SoundExchange) (Angel) 2 Publishing Company LCC (SME US Latin) VP Records Corp. (The 1080 Collective (1080 Collective) (SoundExchange) Orchard) (APC) (Apparel Music Classics) (PPL) (SZR) Music (The Orchard) 10am Records (PPL) (APD) (Apparel Music Digital) (PPL) (SZR) Music (PPL) 10Birds (SoundExchange) (APF) (Apparel Music Flash) (PPL) (The) Vinyl Stone (SoundExchange) 10E Records (PPL) (APL) (Apparel Music Ltd) (PPL) **** artistes (PPL) 10Man Productions (PPL) (ASCI) (SoundExchange) *Cutz (SoundExchange) 10T Records (SoundExchange) (Essential) Blay Vision (The Orchard) .DotBleep (SoundExchange) 10th Legion Records (The Orchard) (EV3) Evolution 3 Ent.
  • MUSIC River of Life

    MUSIC River of Life

    MUSIC River of Life By Tabby Crabb CONTENTS Introduction 9 Making A Career Out of It 11 How We Saved Regina 17 Music, River of Life 23 On the Lost Highway 47 A Chance at the Big Time 59 Meet Miss Piggy 69 Stardust 83 A Peach of a Cobbler 97 Willie, Waylon, and Me 103 Music, Boats, and Jalapenos 113 Mayhem and Revenge 117 Headed to Nashville 139 16 th Avenue 151 The Bigger Bomb 155 The Little Inca Statue 161 The Studio Business 179 More on the Studio Business 203 Survive and Prosper 209 The Nashville Folk Festival 217 A Gift From a Stranger 225 About the Author 229 Credits 237 Books by Tabby Crabb 239 Index 240 7 Introduction his book could easily reach 1,000 pages. TAs I write and reflect, I realize that I can never tell it all but I can distill it into small gulps and hopefully impart a little information , inspiration, a few laughs, and perhaps a sobering look at the music business from a soldier in the trenches standpoint. Like many of you reading, I aspired to reach the top. The times I reached these high pinnacles I discovered that basically the only difference between the top and the bottom is the smell of the cologne and the price of the haircuts. The people are basically the same. Remember that. Miss Minnie Pearl called me on the phone one day when I was at Lobo Records in 16 th Avenue in the early 1980s. She had heard my single, Among Grandma’s Souvenirs , and wanted to call me and basically invite me to meet with her.