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Neil Foster Spiritualises Carole Lateman Lets Us Into Her Life John
October 2014 October 81 ALL ARTICLES/IMAGES ARE COPYRIGHT OF THEIR RESPECTIVE AUTHORS. FOR REPRODUCTION, PLEASE CONTACT ALAN LLOYD VIA TFTW.ORG.UK Cosimo Matassa & Senator Jones, Sea Saint Studios, New Orleans, 04-05-79 © Paul Harris Dominique, our man in la belle France, wishes to write an extensive biography of Cosimo to be published in future issues so here is Paul’s picture to confirm we aren’t ignoring Cosimo’s passing. Neil Foster spiritualises Carole Lateman lets us into her life John Howard rocks it up in Las Vegas Keith gets to know more about Iain Terry Soul Kitchen, Jazz Junction, Blues Rambling And more... 1 The recent piece by Tony Papard has spurred me to write a little about the paranormal and the arguments both for and against it. First, an experience (concerning a communication from the dead) that my mother had. She once told me that she often used to wake up in the middle of the night to see her late father standing by the bed, not as a vague shape, but as real-looking as if he were still alive. I asked her if she was frightened by the apparition and she replied, “Well, I didn't like it but I knew he wasn't real, so I pulled the clothes over my head and went back to sleep.” So, did she really see her dead father standing by the bed or...? Obviously, she could never “prove” that it happened as she described and no one else could prove that it didn't. However, there is a way around this logical impasse. -
Neil Foster Carries on Hating Keith Listens To
April 2017 April 96 In association with "AMERICAN MUSIC MAGAZINE" ALL ARTICLES/IMAGES ARE COPYRIGHT OF THEIR RESPECTIVE AUTHORS. FOR REPRODUCTION, PLEASE CONTACT ALAN LLOYD VIA TFTW.ORG.UK Chuck Berry, Capital Radio Jazzfest, Alexandra Palace, London, 21-07-79, © Paul Harris Neil Foster carries on hating Keith listens to John Broven The Frogman's Surprise Birthday Party We “borrow” more stuff from Nick Cobban Soul Kitchen, Jazz Junction, Blues Rambling And more.... 1 2 An unidentified man spotted by Bill Haynes stuffing a pie into his face outside Wilton’s Music Hall mumbles: “ HOLD THE THIRD PAGE! ” Hi Gang, Trust you are all well and as fluffy as little bunnies for our spring edition of Tales From The Woods Magazine. WOW, what a night!! I'm talking about Sunday 19th March at Soho's Spice Of Life venue. Charlie Gracie and the TFTW Band put on a show to remember, Yes, another triumph for us, just take a look at the photo of Charlie on stage at the Spice, you can see he was having a ball, enjoying the appreciation of the audience as much as they were enjoying him. You can read a review elsewhere within these pages, so I won’t labour the point here, except to offer gratitude to Charlie and the Tales From The Woods Band for making the evening so special, in no small part made possible by David the excellent sound engineer whom we request by name for our shows. As many of you have experienced at Rock’n’Roll shows, many a potentially brilliant set has been ruined by poor © Paul Harris sound, or literally having little idea how to sound up a vintage Rock’n’Roll gig. -
Dec. 22, 2015 Snd. Tech. Album Arch
SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) Affinity-Affinity S=Trident Studio SOHO, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R=1970 (Vertigo) E=Frank Owen, Robin Geoffrey Cable P=John Anthony SOURCE=Ken Scott, Discogs, Original Album Liner Notes Albion Country Band-Battle of The Field S=Sound Techniques Studio Chelsea, London. (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) S=Island Studio, St. Peter’s Square, London (PARTIAL TRACKING) R=1973 (Carthage) E=John Wood P=John Wood SOURCE: Original Album liner notes/Discogs Albion Dance Band-The Prospect Before Us S=Sound Techniques Studio Chelsea, London. (PARTIALLY TRACKED. MIXED: SOUND TECHNIQUES A-RANGE) S=Olympic Studio #1 Studio, Barnes, London (PARTIAL TRACKING) R=Mar.1976 Rel. (Harvest) @ Sound Techniques, Olympic: Tracks 2,5,8,9 and 14 E= Victor Gamm !1 SOUND TECHNIQUES RECORDING ARCHIVE (Albums recorded and mixed complete as well as partial mixes and overdubs where noted) P=Ashley Hutchings and Simon Nicol SOURCE: Original Album liner notes/Discogs Alice Cooper-Muscle of Love S=Sunset Sound Recorders Hollywood, CA. Studio #2. (TRACKED: SOUND TECHNIQUES A-RANGE) S=Record Plant, NYC, A&R Studio NY (OVERDUBS AND MIX) R=1973 (Warner Bros) E=Jack Douglas P=Jack Douglas and Jack Richardson SOURCE: Original Album liner notes, Discogs Alquin-The Mountain Queen S= De Lane Lea Studio Wembley, London (TRACKED AND MIXED: SOUND TECHNIQUES A-RANGE) R= 1973 (Polydor) E= Dick Plant P= Derek Lawrence SOURCE: Original Album Liner Notes, Discogs Al Stewart-Zero She Flies S=Sound Techniques Studio Chelsea, London. -
Wavelength (November 1984)
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 11-1984 Wavelength (November 1984) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (November 1984) 49 https://scholarworks.uno.edu/wavelength/49 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. I I ~N0 . 49 n N<MMBER · 1984 ...) ;.~ ·........ , 'I ~- . '· .... ,, . ----' . ~ ~'.J ··~... ..... 1be First Song • t "•·..· ofRock W, Roll • The Singer .: ~~-4 • The Songwriter The Band ,. · ... r tucp c .once,.ts PROUDLY PR·ESENTS ••••••••• • • • • • • • •• • • • • • • • • • • • • • • ••••••••• • • • • • • • •• • • • • • • • • • • • • • •• • • • • • • • • • • • ••••••••••• • •• • • • • • • • ••• •• • • • • • •• •• • •• • • • •• ••• •• • • •• •••• ••• •• ••••••••••• •••••••••••• • • • •••• • ••••••••••••••• • • • • • ••• • •••••••••••••••• •••••• •••••••• •••••• •• ••••••••••••••• •••••••• •••• .• .••••••••••••••••••:·.···············•·····•••·• ·!'··············:·••• •••••••••••• • • • • • • • ...........• • ••••••••••••• .....•••••••••••••••·.········:· • ·.·········· .....·.·········· ..............••••••••••••••••·.·········· ............ '!.·······•.:..• ... :-=~=···· ····:·:·• • •• • •• • • • •• • • • • • •••••• • • • •• • -
Sound Recording in the British Folk Revival: Ideology, Discourse and Practice, 1950–1975
Sound recording in the British folk revival: ideology, discourse and practice, 1950–1975 Matthew Ord Submitted in fulfilment of the degree of PhD International Centre for Music Studies Newcastle University March 2017 Abstract Although recent work in record production studies has advanced scholarly understandings of the contribution of sound recording to musical and social meaning, folk revival scholarship in Britain has yet to benefit from these insights. The revival’s recording practice took in a range of approaches and contexts including radio documentary, commercial studio productions and amateur field recordings. This thesis considers how these practices were mediated by revivalist beliefs and values, how recording was represented in revivalist discourse, and how its semiotic resources were incorporated into multimodal discourses about music, technology and traditional culture. Chapters 1 and 2 consider the role of recording in revivalist constructions of traditional culture and working class communities, contrasting the documentary realism of Topic’s single-mic field recordings with the consciously avant-garde style of the BBC’s Radio Ballads. The remaining three chapters explore how the sound of recorded folk was shaped by a mutually constitutive dialogue with popular music, with recordings constructing traditional performance as an authentic social practice in opposition to an Americanised studio sound equated with commercial/technological mediation. As the discourse of progressive rock elevated recording to an art practice associated with the global counterculture, however, opportunities arose for the incorporation of rock studio techniques in the interpretation of traditional song in the hybrid genre of folk-rock. Changes in studio practice and technical experiments with the semiotics of recorded sound experiments form the subject of the final two chapters. -
Salsa2bills 1..2
By:AADuncan S.C.R.ANo.A12 CONCURRENT RESOLUTION 1 WHEREAS, Texas is well known for its pioneering musical 2 talent, and The Crickets are among those Texas legends who grew to 3 symbolize this brilliant creative spirit; and 4 WHEREAS, Originally formed in Lubbock by Buddy Holly, J.AI. 5 Allison, and Joe B. Mauldin, the group went on to include Sonny 6 Curtis, Niki Sullivan, Tommy Allsup, and Earl Sinks; and 7 WHEREAS, The Crickets were one of the first rock and roll 8 bands to be self-contained, writing, playing, producing, and 9 recording their own material; and 10 WHEREAS, Beginning in 1957, hits such as "That 'll Be the 11 Day," "Peggy Sue," "Oh Boy," "Not Fade Away," "Maybe Baby," "It 's So 12 Easy," "I Fought the Law," and "More Than I Can Say" established The 13 Crickets as a leading rock and roll band that would become known the 14 world over; and 15 WHEREAS, By solidifying the rock and roll instrumental format 16 of bass, guitars, drums, and vocals, and writing their own 17 material, The Crickets provided a blueprint and inspiration for the 18 Beatles, the Rolling Stones, and virtually every major rock band 19 that came after them; and 20 WHEREAS, Nearly 50 years later, The Crickets continue to 21 record and perform, and their songs are considered rock and roll 22 standards as evidenced by their release last year of "The Crickets 23 and Their Buddies," an all-star collection of The Crickets playing 24 their songs with such talented musicians and friends as Rodney 79R9007 MW-D 1 S.C.R.ANo.A12 1 Crowell, Waylon Jennings, John Prine, Phil and Jason Everly, Eric 2 Clapton, and Nanci Griffith; now, therefore, be it 3 RESOLVED, That the 79th Legislature of the State of Texas 4 hereby pay tribute to The Crickets for their many contributions to 5 Texas music and recognize March 16, 2005, as The Crickets Day in 6 Texas in their honor; and, be it further 7 RESOLVED, That an official copy of this resolution be 8 prepared for the members of The Crickets as an expression of high 9 regard by the Texas Senate and House of Representatives. -
BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected]
BEAR FAMILY RECORDS TEL +49(0)4748 - 82 16 16 • FAX +49(0)4748 - 82 16 20 • E-MAIL [email protected] KÜNSTLER FREDDIE KING TITEL Texas Flyer, 1974 - 1976 LABEL Bear Family Records KATALOG # BCD 16778 PREIS-CODE EK EAN-CODE ÆxAKABMRy167781z ISBN-CODE 978-3-89916-550-0 FORMAT 5 CD-Box (LP-Format) mit 80-seitigem geb. Buch GENRE R&B / Rock Instrumental ANZAHL TITEL 64 SPIELDAUER 363:47 G Diese Box komplettiert die Freddie-King-Story: alle RSO-Studioaufnahmen von 1974/75 (einige mit Label- Kumpel Eric Clapton) sowie vier randvolle CDs mit Live-Tracks aus den Mittsiebzigern. G Unsere erste Freddie-King-Box gehörte zu den bestverkauften und am besten rezensierten, die wir je hatten! Dies ist die aufregende Fortsetzung. G Enthält das aufregende 'Burglar'-Album (in England von Mike Vernon produziert) sowie Raritäten und eine unveröffentlichte Version von That's All Right. G Viele der krachenden Livemitschnitte in dieser mächtigen Box hat es nie zuvor gegeben – alle sind in klarem, knackigen Stereo aufgenommen. Auch nicht der Hauch von Bootleg-Qualität! G Das optisch sehr gelungene Begleitbuch enthält viele Fotos, eine Komplett-Discographie und einen umfang- reichen Text mit neuen Interviews, u.a. mit Mike Vernon, dem Trompeter Darrell Leonard (er produzierte sechs der Live-Titel) und einem der bekanntesten King-Bandmusiker aus den 70ern, dem Pianisten David Maxwell. INFORMATIONEN Diese 5-CD-Ausgabe schließt nahtlos an BEAR FAMILYserste, umfangreiche und hochgelobte Freddie-King-Box 'Taking Care Of Business 1956-1973' an; sie dokumentiert die letzten Jahre des großen texanischen Bluesgitarristen für RSO RECORDS, bei denen auch Eric Clapton unter Vertrag stand. -
Results Book
making this year's Dallas White Rock a runaway success! Your support of ciil/as White Rock Marathon directly bene e; of many young patients at Texas ite Hospital for Children. rted entirely through private donations, hospital has emerged as one of the ~s leading pediatric medical centers vr the treatment of orthopedic conditions, Ten-year-old patient related neurological disorders and Tyler Bartels learning disabilities. Texas Scottish Rite Hospital provides ongoing treatment to more than 11,500 children a year - at no charge to their families. Since 1921, our efforts have dramatically impacted the Jivea of n;J, 1---------Dear Runners The Dallas White Rock Marathon Board Marathon and are listed elsewhere in chis thank the "For the Love of the Lake" organi of Trustees, its sponsors and over 1,500 vol booklet. We encourage you co patronize zation and its leadership for all they do for unteers thank you for participating in the chose companies and acknowledge their everyone. 1998 Rock. We experienced ideal marathon sponsorship. Importantly, the City of Dallas Finally, a word of thanks co you our par conditions on race day, outstanding race and the Town of Highland Park are essential ticipants. You are the lifeblood of our organization and execution and one of our partners in our event. The logistics of exe Marathon and the object of our planning and largest coca! number of marathon and relay cuting a major marathon in a large metro efforts. Our primary goal is co make our participants in the Rock's 29-year history. politan area are staggering. -
Here’S One in Every Crowd Erlasting Cultural Statement – Everything You Do from a Lot
Hittin’ the Note: Bill, did you feel at all a need to vindicate this period of Clapton’s music? Once you’ve It’s OK; you’re safe with me! photo by Sid Smith been labeled “God” – as Clapton was in what began as graffi ti on a London subway wall and grew into an ev- Well, I actually happen to like There’s One in Every Crowd erlasting cultural statement – everything you do from a lot. I understand why it’s overlooked – there’s no big hit that moment is viewed under a microscope. It seems, on there, and the cover was probably not the most striking. I though, that this particular chapter of Eric’s story has think most people don’t realize the business of the business taken some critical heat over the years. – There’s One In Every Crowd and E.C. Was Here were cut out in 1976 because RSO Records left Atlantic and went to Bill Levenson: I think what I came up against right from Polydor. There was a housecleaning of product, and when the start wasn’t a vindication of the music or the artist − it those records got cut out, they didn’t come into print again was the vindication of the There’s One In Every Crowd and for a decade. People think that they were cut out because E.C. Was Here albums. When people talk about this era, they weren’t good or they weren’t selling, but they were cut they invariably talk about 461 Ocean Boulevard – it was out because distribution stopped on the Atlantic side. -
Newsletternewsletter March 2015
NEWSLETTERNEWSLETTER MARCH 2015 HOWARD ALDEN DIGITAL RELEASES NOT CURRENTLY AVAILABLE ON CD PCD-7053-DR PCD-7155-DR PCD-7025-DR BILL WATROUS BILL WATROUS DON FRIEDMAN CORONARY TROMBOSSA! ROARING BACK INTO JAZZ DANCING NEW YORK ACD-345-DR BCD-121-DR BCD-102-DR CASSANDRA WILSON ARMAND HUG & HIS JOHNNY WIGGS MOONGLOW NEW ORLEANS DIXIELANDERS PCD-7159-DR ACD-346-DR DANNY STILES & BILL WATROUS CLIFFF “UKELELE IKE” EDWARDS IN TANDEM INTO THE ’80s HOME ON THE RANGE AVAilable ON AMAZON, iTUNES, SPOTIFY... GHB JAZZ FOUNDATION 1206 Decatur Street New Orleans, LA 70116 phone: (504) 525-5000 fax: (504) 525-1776 email: [email protected] website: jazzology.com office manager: Lars Edegran assistant: Jamie Wight office hours: Mon-Fri 11am – 5pm entrance: 61 French Market Place newsletter editor: Paige VanVorst contributors: Jon Pult and Trevor Richards HOW TO ORDER Costs – U.S. and Foreign MEMBERSHIP If you wish to become a member of the Collector’s Record Club, please mail a check in the amount of $5.00 payable to the GHB JAZZ FOUNDATION. You will then receive your membership card by return mail or with your order. As a member of the Collector’s Club you will regularly receive our Jazzology Newsletter. Also you will be able to buy our products at a discounted price – CDs for $13.00, DVDs $24.95 and books $34.95. Membership continues as long as you order one selection per year. NON-MEMBERS For non-members our prices are – CDs $15.98, DVDs $29.95 and books $39.95. MAILING AND POSTAGE CHARGES DOMESTIC There is a flat rate of $3.00 regardless of the number of items ordered. -
Glyn Johns Sound Man a Life Recording Hits With
ISBN: 9780399163876 Author: Glyn Johns Sound Man A Life Recording Hits with The Rolling Stones, The Who, Led Zeppelin, The Eagles, Eric Clapton, The Faces . Excerpt PREFACE Someone asked me the other day: What exactly does a record producer do? My answer was: “You just have to have an opinion and the ego to express it more convincingly than anyone else.” Every time I start another project I wonder if I am going to get found out. So much of what any of us achieve in life has a massive element of good fortune attached. In my case, you can start with being born in 1942, which tipped me out into the workplace just as things were getting interesting in the music business, along with a whole host of artists who were to change the face of popular music. They were to drag me with them on the crest of a wave through an extraordinary period of change, not only in the music they were writing and performing but in the structure of the industry itself. Every now and then, when the opportunity presented itself, I would try to “express my opinion more convincingly than anyone else,” and there were a few who took notice. I started working as a recording engineer in 1959, just before the demise of the 78. It was the beginning of the vinyl age. Mono was the thing and stereo was only for hi-fi freaks. Bill Haley and His Comets had started the American rock and roll invasion in Britain in the mid-fifties, and it had been rammed home by Elvis, Fats Domino, Jerry Lee Lewis, and Chuck Berry, to name but a few. -
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