The Ithacan, 1977-10-27
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Aynsley Dunbar Retaliation
AYNSLEY DUNBAR RETALIATION Of the numerous British blues-rock bands to spring up in the late '60s, the Aynsley Dunbar Retaliation was one of the better known, though solid reception on tours did not translate into heavy record sales. Musically, the group recalled John Mayall's Bluesbreakers during the 1966-1967 era that had produced that group's A Hard Road album, though with a somewhat more downbeat tone. The similarities were hardly coincidental, as the band's founder and leader, drummer Aynsley Dunbar, had been in the Bluesbreakers lineup that recorded the A Hard Road LP. Too, bassist Alex Dmochowski would go on to play with Mayall in the 1970s, and guitarist Jon Morshead was friendly with fellow axeman Peter Green (also in the Bluesbreakers' A Hard Road lineup), whom he had replaced in Shotgun Express. Though he was only 21 when he formed the Aynsley Dunbar Retaliation, the drummer had already played with several bands of note in both his native Liverpool and London. Stints in several Merseybeat groups had culminated in his joining the Mojos, and Dunbar played on a couple of singles by the group, though these were cut after their British chart hits. Shortly after leaving the Mojos, he did his stint with the Bluesbreakers, after which he played for a few months in the Jeff Beck Group, also appearing on their 1967 single "Tallyman"/"Rock My Plimsoul." Wanting to lead his own band, in mid-1967 he formed the Aynsley Dunbar Retaliation, joined by Morshead, who'd previously been in the Moments (with a pre-Small Faces Steve Marriott), Shotgun Express, and Johnny Kidd & the Pirates; singer/guitarist/keyboardist Victor Brox, who worked for a while with British blues godfather Alexis Korner; and bassist Keith Tillman. -
Media – History
Matej Santi, Elias Berner (eds.) Music – Media – History Music and Sound Culture | Volume 44 Matej Santi studied violin and musicology. He obtained his PhD at the University for Music and Performing Arts in Vienna, focusing on central European history and cultural studies. Since 2017, he has been part of the “Telling Sounds Project” as a postdoctoral researcher, investigating the use of music and discourses about music in the media. Elias Berner studied musicology at the University of Vienna and has been resear- cher (pre-doc) for the “Telling Sounds Project” since 2017. For his PhD project, he investigates identity constructions of perpetrators, victims and bystanders through music in films about National Socialism and the Shoah. Matej Santi, Elias Berner (eds.) Music – Media – History Re-Thinking Musicology in an Age of Digital Media The authors acknowledge the financial support by the Open Access Fund of the mdw – University of Music and Performing Arts Vienna for the digital book pu- blication. Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche National- bibliografie; detailed bibliographic data are available in the Internet at http:// dnb.d-nb.de This work is licensed under the Creative Commons Attribution-NonCommercial-NoDeri- vatives 4.0 (BY-NC-ND) which means that the text may be used for non-commercial pur- poses, provided credit is given to the author. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/ To create an adaptation, translation, or derivative of the original work and for commercial use, further permission is required and can be obtained by contacting rights@transcript- publishing.com Creative Commons license terms for re-use do not apply to any content (such as graphs, figures, photos, excerpts, etc.) not original to the Open Access publication and further permission may be required from the rights holder. -
Origins of Rock the Seventies
from the definitive, illustrated encyclopedia of rock the definitive, illustrated encyclopedia of rock Richard Buskin, Alan Clayson, Joe Cushley, Rusty Cutchin, Jason Draper, Hugh Fielder, Mike Gent, Drew Heatley, Michael Heatley, Jake Kennedy, Colin Salter, Ian Shirley, John Tobler General Editor: Michael Heatley • Foreword by Scotty Moore FLAME TREE PUBLISHING from the definitive, illustrated encyclopedia of rock FlameTreeRock.com offers a very wide This is a FLAME TREE digital book range of other resources for your interest and entertainment: Publisher and Creative Director: Nick Wells Project Editor: Sara Robson Commissioning Editor: Polly Prior 1. Extensive lists and links of artists , Designer: Mike Spender and Jake The sunshine 1960s were followed by the comparatively grey 1970s. organised by decade: Sixties, Picture Research: Gemma Walters Yet a number of stars of that drab decade started their Contents Seventies etc. Production: Kelly Fenlon, Chris Herbert and Claire Walker life in the 1960s. 2. Free ebooks with the story of other Special thanks to: Joe Cushley, Jason Draper, Jake Jackson, Karen Fitzpatrick, Rosanna Singler and Catherine Taylor In Britain, the chameleon-like David Bowie suffered several musical genres, such as David Bowie ........................................4–5 years of obscurity, Status Quo were psychedelic popsters yet to soul, R&B, disco, rap & Hip Hop. Based on the original publication in 2006 discover 12-bar blues, while Humble Pie was formed by The Eagles ..........................................6–7 -
Brian Auger & the Trinity & Julie Driscoll
a division of BRIAN AUGER & THE TRINITY & JULIE DRISCOLL “The Mod Years” Elisabeth Richter Hildesheimer Straße 83 30169 Hannover GERMANY Tel.: 0049‐511‐806916‐16 Fax: 0049‐511‐806916‐29 Cell: 0049‐177‐7218403 elisabeth.richter@mig‐music.de www.mig‐music.de Release: 24.06.2010 CD Kat. Nr.: MIG 00492 Format: 1 CD Jewel Genre: Rock Brian Auger talks about “The Mod Years” It was in April-May 1965, when Long John Baldry saw me playing in the Manchester club “The Twisted Wheel”. Baldry was already a famous name at that time. He even had his own hour a division of on television, so big deal. I was called to a meeting the following week with John, his manager and agent. John’s Hoochie Coochie Men were breaking up. It was suggested that my trio, the Trinity with bassist Rickey Brown and drummer Mickey Waller would become the rhythm section of the new band. I added Vic Briggs, John wanted his protégé Rod Stewart to sing with us. I suggested adding singer Julie Driscoll, who at that time was working in my manager’s office but waiting to start a career with a band. The Steampacket were a tremendous success live and went on to be called the first Supergroup. I arranged and interpreted stuff for everybody in the band. Because of arguments as what label to record for, we missed recording our own album. After the breakup, Baldry changed the band into The Shotgun Express and The Brotherhood, with Elton John at the piano. This anthology compiles tunes from before 1966. -
Catalogo ARTISTA TITULO for ANO OBS STOCK PVP
Catalogo ARTISTA TITULO FOR ANO OBS STOCK PVP 1927 ISH +2 CD 1989 20 th Anniversary Edition X 27,00 1927 THE OTHER SIDE CD 1990 AOR X 22,95 21 GUNS KNEE DEEP CDS 1992 Melodic Rock X 5,00 220 VOLT 220 VOLT CD Japanese Edition X 25,00 220 VOLT EYE TO EYE -Japan Edt.- CD 1988 Japan reissue remastered +2 tracks X 20,99 24 K PURE CD 2000 X 7,50 30 SECONDS TO MARS 30 SECONDS TO MARS CD X 17,95 38 SPECIAL FLASHBACK CD 1987 Best of 16,95 38 SPECIAL ICON CD 2011 Best of X 10,95 38 SPECIAL ROCK & ROLL STRATEGY CD 20,95 38 SPECIAL STRENGTH IN NUMBERS CD 1986 X 11,99 38 SPECIAL TOUR DE FORCE CD 1983 X 10,95 38 SPECIAL WILD-EYED SOUTHERN BOYS CD 1978 10,95 38 SPECIAL WILD-EYED SOUTHERN../SPECIAL FORCES CD 1978 1980 & 1982 2013 reissue 2 Albums 1 CD X 12,99 AB/CD CUT THE CRAO CD 12,95 AB/CD THE ROCK 'N''ROLL DEVIL CD 12,95 ABC THE CLASSIC MASTERS COLLECTION CD Best of X 12,95 AC/DC BACK IN BLACK CD 1980 2003 remastered X 14,95 AC/DC BACK IN BLACK -LTD 180G- CD 1980 2009 LTD 180G X 22,95 AC/DC BALLBREAKER CD 12,95 AC/DC BLACK ICE CD 2008 Remasters digipack X 17,95 AC/DC BONFIRE 5CD X 27,95 AC/DC DIRTY DEEDS DONE DIRT CHEAP 4DVD X 25,00 AC/DC DIRTY DEEDS DONE DIRT CHEAP CD 1976 Remasters digipack 9,95 AC/DC FLICK OF THE SWITCH CD 12,95 AC/DC FLY ON THE WALL CD 12,95 AC/DC HELL AIN'T A BAD PLACE TO BE BOOK X 8,95 AC/DC HIGHWAY TO HELL CD 12,95 ARTISTA TITULO FOR ANO OBS STOCK PVP AC/DC HIGHWAY TO HELL -180G- LP 1979 2009 ltd 180G X 22,95 AC/DC IF YOU WANT BLOOD YOU'VE GOT IT CD 12,95 AC/DC IN CONCERT BLRY 2012 98 min X 12,95 AC/DC IT''S A LONG WAY TO THE TOP DVD X 7,50 AC/DC LET THERE BE ROCK DVD X 10,95 AC/DC LIVE 92 2LP 1992 Live X 25,95 AC/DC LIVE 92 2CD 1992 Live X 24,95 AC/DC NO BULL DVD X 12,95 AC/DC POWERAGE CD 10,95 AC/DC RAZOR'S EDGE CD 1990 Remasters digipack X 14,95 AC/DC STIFF UPPER LIP CD Remasters digipack 10,95 AC/DC T.N.T. -
Rod Stewart Celebrates 10TH Anniversary of "Rod Stewart: The
Rod Stewart Celebrates 10TH Anniversary of "Rod Stewart: The Hits." by Announcing 2021 Las Vegas Residency Dates at The Colosseum at Caesars Palace October 6 - 23, 2021 June 15, 2021 Tickets Go on Sale Saturday, June 19 at 10 a.m. PT Click here for admat and high-resolution production photos Photo Credit: Denise Truscello LAS VEGAS, June 15, 2021 /PRNewswire/ -- Legendary Rockstar Rod Stewart will celebrate the 10th anniversary of his acclaimed residency "Rod Stewart: The Hits." at The Colosseum at Caesars Palace when he returns to Las Vegas for nine shows this fall. Presented in partnership by Caesars Entertainment and Live Nation Las Vegas, "Rod Stewart: The Hits." will perform select dates October 6 through 23, 2021. Over the past ten years, the two-time Rock and Roll Hall of Fame inductee has packed an arena-sized concert into an intimate concert experience that's exclusive to Las Vegas audiences - with no seat more than 145 feet from his majestic stage. Featuring chart-topping hits spanning Stewart's unparalleled over five-decade career including "You Wear It Well," "Maggie May," "Da Ya Think I'm Sexy," "The First Cut is the Deepest," "Tonight's the Night" and "Forever Young," the high-energy show treats audiences to an intimate, concert celebration. The 2021 concerts going on-sale are: October: 6, 8, 9, 13, 15, 16, 20, 22, 23 Fan club presale tickets will be available starting Wednesday, June 16 at 10 a.m. PT through Friday, June 18 at 10 p.m. PT. Citi is the official presale credit card of "Rod Stewart: The Hits." at The Colosseum at Caesars Palace. -
Semantic Audio Analysis Utilities and Applications
Semantic Audio Analysis Utilities and Applications PhD Thesis Gyorgy¨ Fazekas Centre for Digital Music School of Electronic Engineering and Computer Science, Queen Mary University of London April 2012 I certify that this thesis, and the research to which it refers, are the product of my own work, and that any ideas or quotations from the work of other people, published or otherwise, are fully acknowledged in accordance with the standard referencing practices of the discipline. I acknowledge the helpful guidance and support of my supervisor, Professor Mark Sandler. Abstract Extraction, representation, organisation and application of metadata about audio recordings are in the concern of semantic audio analysis. Our broad interpretation, aligned with re- cent developments in the field, includes methodological aspects of semantic audio, such as those related to information management, knowledge representation and applications of the extracted information. In particular, we look at how Semantic Web technologies may be used to enhance information management practices in two audio related areas: music informatics and music production. In the first area, we are concerned with music information retrieval (MIR) and related research. We examine how structured data may be used to support reproducibility and provenance of extracted information, and aim to support multi-modality and context adap- tation in the analysis. In creative music production, our goals can be summarised as follows: O↵-the-shelf sound editors do not hold appropriately structured information about the edited material, thus human-computer interaction is inefficient. We believe that recent developments in sound analysis and music understanding are capable of bringing about significant improve- ments in the music production workflow. -
Branding Burberry: Britishness, Heritage, Labour and Consumption
Branding Burberry: Britishness, Heritage, Labour and Consumption Sian Weston Goldsmiths, University of London Thesis submitted for the degree of Ph.D. in Sociology September 2016 1 I declare that the work presented in this thesis is my own. Sian Weston 2 In memory of my inspirational and stylish mother, Lyn Weston. 3 Special thanks to my supervisor Professor Beverley Skeggs for her unceasing encouragement and undimmed confdence in my work throughout the course of my research, and for making my time at Goldsmiths a pleasurable chapter of my professional life. Thanks to Nirmal Puwar and Pamela Odih for conducting such a positive upgrade examination; to Monica Sassatelli for reading my entire thesis pre- submission, and to staff and students within the Department of Sociology for providing a strong and challenging research culture, with special thanks to Bridget Ward as the welcoming face of the department. Heartfelt thanks to friends Helen Carnac, David Gates, Linda Sandino, James Bosley, Linda Florence, Faye McNulty and Kay Politowicz for their loyal, enthusiastic and on-going support throughout my research, and for knowing when I needed solitude to write, and when to step in with food, drinks, and offers of entertainment. Thanks to Jake Ford and Lisa Olausson, Abigail Ford and Jason Prince, and to David Littler and Gillian Blease for providing much- needed bolt holes when the going got tough. I owe artist Bedwyr Williams, senior GMB union offcer Mervyn Burnett, former Burberry machinist Joan Young and her co-workers Leigh and Anne a huge debt of thanks for helping me to complete such an engaging period of primary research. -
Download Without the Beatles Here
A possible history of pop ... DAVID JOHNSTON To musicians and music-lovers, everywhere, and forever. A possible history of pop… DAVID JOHNSTON Copyright © 2020 David Johnston. All rights reserved. First published in 2020. ISBN 978-1-64999-623-7 This format is available for free, single-use digital transmission. Multiple copy prints, or publication for profit not authorised. Interested publishers can contact the author: [email protected] Book and cover design, layout, typesetting and editing by the author. Body type set in Adobe Garamond 11/15; headers Futura Extra Bold, Bold and Book Cover inspired by the covers of the Beatles’ first and last recorded LPs, Please Please Me and Abbey Road. CONTENTS PROLOGUE 1 I BEFORE THE BEATLES 1 GALAXIES OF STARS 5 2 POP BEGINNINGS 7 3 THE BIRTH OF ROCK’N’ROLL 9 4 NOT ONLY ROCK’N’ROLL 13 5 THE DEATH OF ROCK’N’ROLL AND THE RISE OF THE TEENAGE IDOLS 18 6 SKIFFLE – AND THE BRITISH TEENAGE IDOLS 20 7 SOME MARK TIME, OTHERS MAKE THEIR MARK 26 II WITHOUT THE BEATLES A hypothetical 8 SCOUSER STARTERS 37 9 SCOUSER STAYERS 48 10 MANCUNIANS AND BRUMMIES 64 11 THAMESBEAT 76 12 BACK IN THE USA 86 13 BLACK IN THE USA 103 14 FOLK ON THE MOVE 113 15 BLUES FROM THE DEEP SOUTH OF ENGLAND (& OTHER PARTS) 130 III AFTER THE BEATLES 16 FROM POP STARS TO ROCK GODS: A NEW REALITY 159 17 DERIVATIVES AND ALTERNATIVES 163 18 EX-BEATLES 190 19 NEXT BEATLES 195 20 THE NEVER-ENDING END 201 APPENDIX 210 SOURCES 212 SONGS AND OTHER MUSIC 216 INDEX 221 “We were just a band who made it very, very big. -
Simply, Bawdily, Honestly
His songs rock with the spirit, if not the sound, of the blues: simply, bawdily, honestly. n this season of the unplugged, it seems only natural for Rod Stewart, like Eric Clapton and Neil Young, to reintroduce his early work to the MTV genera tion in a setting more intimate than the arenas to which he’s become accustomed. After all, classic songs like “Every Picture Tells a Story,” “Mandolin Wind” and “Cut Across Shorty” were never com Ipletely plugged in anyway They rocked with the spirit, if not the sound, of the blues: simply, bawdily, honestly. Delta earthiness was provided by omnipresent slide guitar, and a more homespun Celtic melancholy was evoked by the strings that often echoed the folk-ish melodies. Its a sound that’s come around again, as con temporary pop musicians dig for roots. You can hear it in Peter Buck’s mandolin on R.E.M.S “Losing My Religion” or in the vio lins on 10,000 Maniacs’ version of “Because the Night.” At the heart of Rod Stewart’s early hits, though, was his unmis takable voice, ragged, unadorned, warm and up-close. Stewart 32 may now possess the voice of experience, but then, on a had been on the continent. He found a part-time gig, most song like “Gasoline Alley,” it seemed hungry, expectant, ly playing harmonica, with Jimmy Powell and the vulnerable, with more than a little mischief in it. “Gasoline Dimensions, a Birmingham band that often opened for the Alley” a “longing-for-home song,” as Stewart has put it, has Rolling Stones: to make ends meet, he also worked as a the ring of autobiography, but it’s about locating a feeling, frame-maker and a grave digger. -
Who Am I? Celebrating a Mystery Person Born This Month
Who Am I? Celebrating a mystery person born this month Print a “Who Am I?” sign. Add a clue in the text box, print, and post on your bulletin board. Post a different clue every day or so and see who can guess the identity of the mystery person of the month. Then plan a “Who am I?” discussion and reminiscence activity. Do you know who I am? Here are some clues: 1. I was born on January 10, 1945. 2. My father was a Scottish master builder. 3. I am the youngest of five children. 4. My middle name is David. 5. I was raised in North London. 6. I tried out for a professional football club. 7. I left school at age 15. 8. I am the father of eight children. 9. I have had children with five different women. 10. I have been married three times. 11. For a time, I lived as a beatnik on a houseboat. 12. I worked as a silk-screen printer, newsboy, and gravedigger. 13. I am a notable supporter of the Celtic Football Club. 14. I began to play the harmonica due to my interest in R&B music. 15. My first professional work was with a band called the Dimensions. 16. I played with the Jeff Beck Group. 17. I helped form a group called Steampacket. ©ActivityConnection.com – Rod Stewart – Page !1 of !4 18. I had several hit songs with a band called the Faces. 19. I began to work as a solo artist in 1969. 20. I moved to the United States in 1975. -
Heads Hands & Feet
HEADS HANDS & FEET (Inc. POET AND THE ONE MAN BAND and other Ray Smith (music)/Tony Colton (lyrics) compositions.) LYRICS Compiled by Robin Dunn & Chrissie van Varik. With grateful thanks to Ray Smith for his interest, advice and input. The highly regarded but also shamefully underrated HEADS HANDS & FEET (HH&F) started out as the late 1960s folk/psychedelic rock band POET AND THE ONE MAN BAND (P&TOMB) - named from a line in Paul Simon’s ‘Homeward Bound’. By then Ray Smith (composer) and Tony Colton (lyricist) were established songwriters and highly regarded (session) musicians in their own right. Tony also produced. The short-lived Tony Colton and The Big Boss Band had been formed in 1964. They recorded only one single for Decca, ‘Lose My Mind’. In 1965 Tony recorded three solo singles for Pye. A move to Columbia Records resulted in ‘In The World Of Marnie’s Dreaming’ but as none of these provided the big break Tony and Ray were looking for, they returned to composing and Ray went back to session work, including tracks for Zoot Money among many others. P&TOMB, formed with fellow (backing/session) musicians Tony and Ray had been working with throughout the ‘60s, recorded an excellent self-titled album in 1968 of which two versions were issued in 1969 with differing track-listings and sleeve designs - one in the UK (on Verve) and one in the US (on Paramount). After a change in the line-up, P&TOMB became HH&F in 1971. They were a very hot band set for stardom with lucrative recording contract offers, but despite great recordings and live shows, frictions set in and at the end of 1972, when Albert Lee left, the band had effectively split.