Volume Xviii -Number 39 June 15, 1957
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The Beatles), 80, 165, 357, 358, 389
Index of Titles Abbey Road (The Beatles), 80, 165, 357, 358, 389 “Abraham, Martin and John” (Dion), 40, 75, 115, 194, 321 Absolutely Free (The Mothers of Invention), 156, 310, 375, 388 “Absolutely Sweet Marie” (Bob Dylan), 207 “The Acid Queen” (The Who), 71 “Across the Universe” (The Beatles), 222, 309, 374 “Action” (Freddy Cannon), 69 “Adagio Per Archi e Organo” (Brian Auger and the Trinity), 72 After Bathing at Baxter’s (Jefferson Airplane), 358, 388 “After the Lights Go Down Low” (Al Hibbler), 337 “Afterglow” (The Small Faces), 357 Aftermath (The Rolling Stones), 292 “Ahab the Arab” (Ray Stevens), 25, 95, 366 “Aiko Biaye” (Ginger Baker’s Air Force), 374 “Ain’t It Funky Now” (James Brown), 212 “Ain’t No Mountain High Enough” (Marvin Gaye and Tammi Terrell), 77, 111–112, 128 “Ain’t That a Shame” (Pat Boone), 314; (Fats Domino), 321 “Ain’t That Peculiar” (Marvin Gaye), 168 “Ain’t Too Proud to Beg” (The Temptations), 105, 124, 226, 319 “The Air That I Breathe” (The Hollies), 196 “Al Di Lá” (Emilio Pericoli), 114–115 “Alabama Song (Whisky Bar)” (The Doors), 115, 366 “Albatross” (Fleetwood Mac), 16, 377 “Albert’s Shuffle” (Mike Bloomfield / Al Kooper / Steve Stills), 62 “Alfie” (Dionne Warwick), 174, 199, 206, 279–280, 386 “Alice’s Restaurant Massacree” (Arlo Guthrie), 141, 203, 270, 327, 364, 379 “Alice’s Rock & Roll Restaurant” (Arlo Guthrie), 31, 327 “All Alone Am I” (Brenda Lee), 182 “All Along the Watchtower” (Bob Dylan), 172, 260 “The All-American Boy” (Bill Parsons), 175 “All Around the World” (Little Willie John), 139 “All Day and -
Ho Li Day Se Asons and Va Ca Tions Fei Er Tag Und Be Triebs Fe Rien BEAR FAMILY Will Be on Christmas Ho Li Days from Vom 23
Ho li day se asons and va ca tions Fei er tag und Be triebs fe rien BEAR FAMILY will be on Christmas ho li days from Vom 23. De zem ber bis zum 12. Ja nuar macht De cem ber 23rd to Ja nuary 12th. During that peri od BEAR FAMILY Weihnach tsfe rien. Bestel len Sie in die ser plea se send written orders only. The staff will be back Zeit bitte nur schriftlich. Ab dem 12. Janu ar 2004 sind ser ving you du ring our re gu lar bu si ness hours on Mon- wir wie der für Sie da. Bei die ser Ge le gen heit be dan ken day 12th, 2004. We would like to thank all our custo - wir uns für die gute Zusam menar beit im ver gange nen mers for their co-opera ti on in 2003. It has been a Jahr. plea su re wor king with you. BEAR FAMILY is wis hing you a Wir wünschen Ihnen ein fro hes Weih nachts- Merry Christmas and a Happy New Year. fest und ein glüc kliches neu es Jahr. COUNTRY...............................2 BEAT, 60s/70s.........................66 AMERICANA/ROOTS/ALT. ........................19 SURF ........................................73 OUTLAWS/SINGER-SONGWRITER ..................22 REVIVAL/NEO ROCKABILLY .......................75 WESTERN .....................................27 BRITISH R&R ...................................80 C&W SOUNDTRACKS............................28 INSTRUMENTAL R&R/BEAT ........................80 C&W SPECIAL COLLECTIONS ......................28 COUNTRY AUSTRALIA/NEW ZEALAND ...............29 POP ......................................82 COUNTRY DEUTSCHLAND/EUROPE .................30 POP INSTRUMENTAL ............................90 -
Billboard Magazine Top 100 Singles of 1957
Billboard Magazine Top 100 Singles of 1957 1 Elvis Presley All Shook Up 2 Pat Boone Love Letters in the Sand 3 Diamonds Little Darlin' 4 Tab Hunter Young Love 5 Jimmy Dorsey So Rare 6 Pat Boone Don't Forbid Me 7 Guy Mitchell Singing the Blues 8 Sonny James Young Love 9 Elvis Presley Too Much 10 Perry Como Round and Round 11 Everly Brothers Bye Bye Love 12 Debbie Reynolds Tammy 13 Buddy Knox Party Doll 14 Elvis Presley Teddy Bear 15 Harry Belafonte Banana Boat (Day-O) 16 Elvis Presley Jailhouse Rock 17 Marty Robbins A White Sport Coat (And a Pink Carnation) 18 Del-Vikings Come Go With Me 19 Everly Brothers Wake up Little Susie 20 Sam Cooke You Send Me 21 Coasters Searchin' 22 Chuck Berry School Day 23 Ferlin Husky Gone 24 Paul Anka Diana 25 Ricky Nelson A Teenager's Romance 26 Tarriers The Banana Boat Song 27 Jimmie Rodgers Honeycomb 28 Jerry Lee Lewis Whole Lotta Shakin' Goin' On 29 Gale Storm Dark Moon 30 Crickets That'll Be the Day 31 Charlie Gracie Butterfly 32 Frankie Laine Moonlight Gambler 33 Tommy Sands Teenage Crush 34 Johnny Mathis It's Not for Me to Say 35 Rays Silhouettes 36 Andy Williams Butterfly 37 Terry Gilkyson Marianne 38 Fats Domino I'm Walkin' 39 Johnny Mathis Chances Are 40 Nat King Cole Send for Me 41 Russ Hamilton Rainbow 42 Ricky Nelson Be-bop Baby 43 Larry Williams Short Fat Fanny 44 Jim Lowe The Green Door 45 Billy Williams I'm Gonna Sit Rlght Down & Write Myself a Letter 46 Patti Page Old Cape Cod 47 Bobbettes Mr. -
100 Years: a Century of Song 1950S
100 Years: A Century of Song 1950s Page 86 | 100 Years: A Century of song 1950 A Dream Is a Wish Choo’n Gum I Said my Pajamas Your Heart Makes / Teresa Brewer (and Put On My Pray’rs) Vals fra “Zampa” Tony Martin & Fran Warren Count Every Star Victor Silvester Ray Anthony I Wanna Be Loved Ain’t It Grand to Be Billy Eckstine Daddy’s Little Girl Bloomin’ Well Dead The Mills Brothers I’ll Never Be Free Lesley Sarony Kay Starr & Tennessee Daisy Bell Ernie Ford All My Love Katie Lawrence Percy Faith I’m Henery the Eighth, I Am Dear Hearts & Gentle People Any Old Iron Harry Champion Dinah Shore Harry Champion I’m Movin’ On Dearie Hank Snow Autumn Leaves Guy Lombardo (Les Feuilles Mortes) I’m Thinking Tonight Yves Montand Doing the Lambeth Walk of My Blue Eyes / Noel Gay Baldhead Chattanoogie John Byrd & His Don’t Dilly Dally on Shoe-Shine Boy Blues Jumpers the Way (My Old Man) Joe Loss (Professor Longhair) Marie Lloyd If I Knew You Were Comin’ Beloved, Be Faithful Down at the Old I’d Have Baked a Cake Russ Morgan Bull and Bush Eileen Barton Florrie Ford Beside the Seaside, If You were the Only Beside the Sea Enjoy Yourself (It’s Girl in the World Mark Sheridan Later Than You Think) George Robey Guy Lombardo Bewitched (bothered If You’ve Got the Money & bewildered) Foggy Mountain Breakdown (I’ve Got the Time) Doris Day Lester Flatt & Earl Scruggs Lefty Frizzell Bibbidi-Bobbidi-Boo Frosty the Snowman It Isn’t Fair Jo Stafford & Gene Autry Sammy Kaye Gordon MacRae Goodnight, Irene It’s a Long Way Boiled Beef and Carrots Frank Sinatra to Tipperary -
Malcolm Chisholm: an Evaluation of Traditional Audio Engineering
Butler University Digital Commons @ Butler University Scholarship and Professional Work - Communication College of Communication 2013 Malcolm Chisholm: An Evaluation of Traditional Audio Engineering Paul Linden Butler University, [email protected] Follow this and additional works at: https://digitalcommons.butler.edu/ccom_papers Part of the Audio Arts and Acoustics Commons, and the Communication Technology and New Media Commons Recommended Citation Linden, Paul, "Malcolm Chisholm: An Evaluation of Traditional Audio Engineering" (2013). Scholarship and Professional Work - Communication. 137. https://digitalcommons.butler.edu/ccom_papers/137 This Article is brought to you for free and open access by the College of Communication at Digital Commons @ Butler University. It has been accepted for inclusion in Scholarship and Professional Work - Communication by an authorized administrator of Digital Commons @ Butler University. For more information, please contact [email protected]. Journal of the Music & Entertainment Industry Educators Association Volume 13, Number 1 (2013) Bruce Ronkin, Editor Northeastern University Published with Support from Malcolm Chisholm: An Evaluation of Traditional Audio Engineering Paul S. Linden University of Southern Mississippi Abstract The career of longtime Chicago area audio engineer and notable Chess Records session recorder Malcolm Chisholm (1929-2003) serves as a window for assessing the stakes of technological and cultural develop- ments around the birth of Rock & Roll. Chisholm stands within the tradi- tional art-versus-commerce debate as an example of the post-World War II craftsman ethos marginalized by an incoming, corporate-determined paradigm. Contextual maps locate Chisholm’s style and environment of audio production as well as his impact within the rebranding of electri- fied Blues music into mainstream genres like Rock music. -
The Return of the 1950S Nuclear Family in Films of the 1980S
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 2011 The Return of the 1950s Nuclear Family in Films of the 1980s Chris Steve Maltezos University of South Florida, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Studies Commons, and the Film and Media Studies Commons Scholar Commons Citation Maltezos, Chris Steve, "The Return of the 1950s Nuclear Family in Films of the 1980s" (2011). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/3230 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. The Return of the 1950s Nuclear Family in Films of the 1980s by Chris Maltezos A thesis submitted in partial fulfillment of the requirements for the degree of Master of Liberal Arts Department of Humanities College Arts and Sciences University of South Florida Major Professor: Daniel Belgrad, Ph.D. Elizabeth Bell, Ph.D. Margit Grieb, Ph.D. Date of Approval: March 4, 2011 Keywords: Intergenerational Relationships, Father Figure, insular sphere, mother, single-parent household Copyright © 2011, Chris Maltezos Dedication Much thanks to all my family and friends who supported me through the creative process. I appreciate your good wishes and continued love. I couldn’t have done this without any of you! Acknowledgements I’d like to first and foremost would like to thank my thesis advisor Dr. -
Conncensus Vol. 46 No. 4
Connecticut College Digital Commons @ Connecticut College 1960-1961 Student Newspapers 10-20-1960 ConnCensus Vol. 46 No. 4 Connecticut College Follow this and additional works at: https://digitalcommons.conncoll.edu/ccnews_1960_1961 Recommended Citation Connecticut College, "ConnCensus Vol. 46 No. 4" (1960). 1960-1961. 8. https://digitalcommons.conncoll.edu/ccnews_1960_1961/8 This Newspaper is brought to you for free and open access by the Student Newspapers at Digital Commons @ Connecticut College. It has been accepted for inclusion in 1960-1961 by an authorized administrator of Digital Commons @ Connecticut College. For more information, please contact [email protected]. The views expressed in this paper are solely those of the author. lOeper eop1 Vol. 46-No. 4 New London, Connecticut, Thursday, October 20, 1960 Science Fellowships Offered; Giulini Will Announce ETS Teacher Exams Conduct Israel The National Academy of Set- stipend for postdoctoral Fellows ences-National Research Council is $4500. Limited allowances will Philharmonic has again been called upon to also be provided to apply toward Carlo Marla Giullnl will con- advise the National Science tuition, laboratory fees, and trav- duct the Israel PhUhannonic Or- Foundation in the selection of el. Dr. Weiss to Speak on "The chestra for the opening program candidates for the Foundation's Further information and appli- of the twenty-second annual Con- program of graduate and post- cation materials may be obtained Creative Life" tonight at 8 doctoral fellowships. The Fcunda- from the Fellowship Office, Na- necticut Orchestra Concert Series tion plans to award approximate- tional Academy of Scienees-Na- o'clock in Palmer Auditorl· on October 26, In Palmer Audi· ly 1,200 graduate and 150 post- tional Research Council, 2101 urn. -
Background Dates for Popular Music Studies
1 Background dates for Popular Music Studies Collected and prepared by Philip Tagg, Dave Harker and Matt Kelly -4000 to -1 c.4000 End of palaeolithic period in Mediterranean manism) and caste system. China: rational philoso- c.4000 Sumerians settle on site of Babylon phy of Chou dynasty gains over mysticism of earlier 3500-2800: King Menes the Fighter unites Upper and Shang (Yin) dynasty. Chinese textbook of maths Lower Egypt; 1st and 2nd dynasties and physics 3500-3000: Neolithic period in western Europe — Homer’s Iliad and Odyssey (ends 1700 BC) — Iron and steel production in Indo-Caucasian culture — Harps, flutes, lyres, double clarinets played in Egypt — Greeks settle in Spain, Southern Italy, Sicily. First 3000-2500: Old Kingdom of Egypt (3rd to 6th dynasty), Greek iron utensils including Cheops (4th dynasty: 2700-2675 BC), — Pentatonic and heptatonic scales in Babylonian mu- whose pyramid conforms in layout and dimension to sic. Earliest recorded music - hymn on a tablet in astronomical measurements. Sphinx built. Egyp- Sumeria (cuneiform). Greece: devel of choral and tians invade Palestine. Bronze Age in Bohemia. Sys- dramtic music. Rome founded (Ab urbe condita - tematic astronomical observations in Egypt, 753 BC) Babylonia, India and China — Kung Tu-tzu (Confucius, b. -551) dies 3000-2000 ‘Sage Kings’ in China, then the Yao, Shun and — Sappho of Lesbos. Lao-tse (Chinese philosopher). Hsai (-2000 to -1760) dynasties Israel in Babylon. Massilia (Marseille) founded 3000-2500: Chinese court musician Ling-Lun cuts first c 600 Shih Ching (Book of Songs) compiles material from bamboo pipe. Pentatonic scale formalised (2500- Hsia and Shang dynasties (2205-1122 BC) 2000). -
Model LA-610 Channel Strip
Model LA-610 Channel Strip Universal Audio Manual Number 65-0901 Revision 1.00 Universal Audio, Inc. www.uaudio.com 330 Encinal St. Santa Cruz, CA 95060 (831) 466-3737 voice (831) 466-3775 fax www.uaudio.com The LA-610 Channel Strip Thank you for purchasing the LA-610 Channel Strip. This unit combines a modified channel of our 2-610 Mic Pre with an LA2A style T4 Optical Compressor. Our 610 was inspired by the microphone preamp section of the 610 tube console designed by my father, M.T. “Bill” Putnam, in the 1950s. The 610 was a rotary-control console and was the first console of the modular design. Although technologically simple compared to modern consoles, the 610 possessed a warmth and character that kept it in demand for decades. As a prominent part of my father’s United/Western studios, the 610 was used on many classic recordings by Frank Sinatra and Sarah Vaughan. The Beach Boys Pet Sounds, the Doors LA Woman, and Van Halen’s debut album were all recorded on the 610. The legendary Wally Heider used the 610 in his remote truck for many of his best-known live recordings. At Ocean Way Studios (formerly United), the 610 is lovingly preserved and still used in Studio B. The T4 Compressor element in the LA-610 is identical to the circuit components housed inside the T4 optical cell used on the legendary LA- 2A compressor. The heart and soul of the LA-2A is mostly a result of this special optical gain control element. -
Psaudio Copper
Issue 133 MARCH 29TH, 2021 Copper has a new look! So does the rest of the PS Audio website, the result of countless hours of hard work. There's more functionality and easier access to articles, and additional developments will come. There will be some temporary glitches and some tweaks required – like high-end audio systems, magazines sometimes need tweaking too – but overall, we're excited to provide a better and more enjoyable reading experience. I now hand over the column to our esteemed Larry Schenbeck: Dear Copper Colleagues and Readers, Frank has graciously asked if I’d like to share a word or two about my intention to stop writing Too Much Tchaikovsky. So: thanks to everyone who read and enjoyed it – I wrote it for you. If you added comments occasionally, you made my day. I also wrote the column so I could keep learning, especially about emerging creatives and performers in classical music. Getting the chance to stumble upon something new and nourishing had sustained me in the academic world – it certainly wasn’t the money! – and I was grateful to continue that in Copper. So why stop? Because, as they say, there is a season. It has become considerably harder for me to stumble upon truly fresh sounds and then write freshly thereon. Here I am tempted to quote Douglas Adams or Satchel Paige, who both knew how to deliver an exit line. But I’ll just say (since Frank has promised to leave the light on), goodbye for now. The door is open, Larry, and we can’t thank you enough for your wonderful contributions. -
Vanguard Label Discography Was Compiled Using Our Record Collections, Schwann Catalogs from 1953 to 1982, a Phono-Log from 1963, and Various Other Sources
Discography Of The Vanguard Label Vanguard Records was established in New York City in 1947. It was owned by Maynard and Seymour Solomon. The label released classical, folk, international, jazz, pop, spoken word, rhythm and blues and blues. Vanguard had a subsidiary called Bach Guild that released classical music. The Solomon brothers started the company with a loan of $10,000 from their family and rented a small office on 80 East 11th Street. The label was started just as the 33 1/3 RPM LP was just gaining popularity and Vanguard concentrated on LP’s. Vanguard commissioned recordings of five Bach Cantatas and those were the first releases on the label. As the long play market expanded Vanguard moved into other fields of music besides classical. The famed producer John Hammond (Discoverer of Robert Johnson, Bruce Springsteen Billie Holiday, Bob Dylan and Aretha Franklin) came in to supervise a jazz series called Jazz Showcase. The Solomon brothers’ politics was left leaning and many of the artists on Vanguard were black-listed by the House Un-American Activities Committive. Vanguard ignored the black-list of performers and had success with Cisco Houston, Paul Robeson and the Weavers. The Weavers were so successful that Vanguard moved more and more into the popular field. Folk music became the main focus of the label and the home of Joan Baez, Ian and Sylvia, Rooftop Singers, Ramblin’ Jack Elliott, Doc Watson, Country Joe and the Fish and many others. During the 1950’s and early 1960’s, a folk festival was held each year in Newport Rhode Island and Vanguard recorded and issued albums from the those events. -
Marty Robbins the Essential Marty Robbins 1951-1982 Mp3, Flac, Wma
Marty Robbins The Essential Marty Robbins 1951-1982 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Folk, World, & Country Album: The Essential Marty Robbins 1951-1982 Country: Europe Released: 1991 Style: Country Rock, Rockabilly, Country MP3 version RAR size: 1285 mb FLAC version RAR size: 1440 mb WMA version RAR size: 1580 mb Rating: 4.9 Votes: 994 Other Formats: ASF MP3 WAV XM MP2 AA RA Tracklist Hide Credits Tomorrow You'll Be Gone 1-1 2:43 Bass – Bill Callahan Fiddle – Tex AtchisonGuitar – Floyd Lanning, Johnny Bond I'll Go On Alone 1-2 Bass – Slim HarbertFiddle – Johnny GimbleGuitar – Floyd LanningPiano – Harold 2:39 Carmack I Couldn't Keep From Crying 1-3 Bass – Slim HarbertFiddle – Johnny GimbleGuitar – Jimmy Rollins, Joe KnightPiano – 2:45 Harold Carmack Pain And Misery 1-4 2:19 Guitar – Chet Atkins, Louis InnisGuitar [Steel] – Joe VincentVocals [Duet] – Ray Edenton That's All Right 1-5 2:34 Fiddle – Dale PotterWritten-By – Arthur Crudup* Maybellene 1-6 2:30 Piano – James Roye Hall*Written-By – Chuck Berry 1-7 Tennessee Toddy 3:14 1-8 I Can't Quit 2:25 Singing The Blues 1-9 2:26 Written-By – Melvin Endsley Knee Deep In The Blues 1-10 2:09 Fiddle – Grover LavenderWritten-By – Melvin Endsley Mister Teardrop 1-11 2:47 Drums – Jimmy GossettGuitar – Hank Garland The Story Of My Life 1-12 2:31 Guitar – D. Perri*Piano – A. Ackers*Written-By – Burt Bacharach, Hal David* A White Sport Coat (And A Pink Carnation) 1-13 2:29 Piano – Dick Hyman She Was Only Seventeen (He Was One Year More) 1-14 2:21 Guitar – D.