DOCSLIB.ORG

Billboard. *Chart Bound C Copyright 1981, Billboard Publications

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Billboard. *Chart Bound C Copyright 1981, Billboard Publications FOR WEEK ENDING SEPT. 19, 1981 80 Billboard. *Chart Bound c Copyright 1981, Billboard Publications. Inc No part EVERY LITTLE THING SHE DOES IS MAGIC -Police of tins publication may be reproduced stored in a re- ABM 2371 trieval system, or transmitted, in any form or by any' MONY MONY -Billy Idol means, electronic mechanical, photocopying record- ing, or otherwise. without the prior written permission Chrysalis 2543 of t e publ Sher. SEE TOP SINGLE PICKS REVIEWS. Page 79 ai TITLE- Artist TITLE 5i 3 -Artist TITLE -Artist (Producer) Writer, Label & Number (Distributing Label) (Producer) Writer, 5 s5 Label & Number (Distributing Label) (Producer) Writer, Label & Number (Distributing Label) 11 ENDLESS LOVE -Diana Ross And Lionel Richie 34 35 9 CHLOE -Elton john 3 Graham (Lionel Richie), L Richie, Motown 1519 CHA -HL 67 69 JUST BE MY LADY -Larry (Elton John), E. John, G. Osbourne, Geffen (Larry Graham), L. Graham, Warner Bras. 49744 CPP 49788 (Warner Bros.) WBM 6 17 OF HEARTS -Juice Newton QUEEN 77 3 WORKING IN THE COAL MINE -Dean (Richard Landis), H. DeVito, Capitol 4997 CLM 38 9 GENERAL HOSPI- TALE Afternoon -The Delights (Dew), A. Toussaint, Elektra 47204 WEM (Harry King), H. King, L. Tedesco, MCA 51148 3 9 STOP DRAGGIN' MY HEART AROUND - 69 62 19 THE STROKE -Billy Squier Stevie Nicks w /Tom Petty 8 The Heartbreakers 36 37 15 SOME DAYS ARE DIAMONDS Denver -lohn (Mack d Billy Squier), B. Squier, Capitol 5005 (Jimmy 'ovine 8 Tom Petty), T. Petty, M. Campbell, Modern (Larry Butler), D. Feller, RCA 12246 CPP 7336 (Atlantic) WBM 70 65 7 DEDICATED TO THE ONE * 43 6 WHEN SHE WAS MY GIRL -The Four Tops 4 12 URGENT- Foreigner (David Wolfed), M. Blatte, L Gottlieb, I LOVE - Bernadette Peters (Robed John Lange A Mick Jones), M. Jones, Atlantic 3831 WBM Casablanca 2338 (Polygram) (Brooks Arthur), L. Pauling, R. Bass, MCA 51152 5 13 NO GETTIN' OVER ME- Ronnie Milsap 41 6 JUST ONCE -Quincy Jones Featuring James Ingram 71 67 13 NICOLE -Point Blank (Ronnie Mitsap A Tom Collins), T. Brasfield, W. Aldridge, (Quincy Jones), B. Mann, C. Weil, ABM 2357 CLM (Bill Hamm), B. Keith, M. Hamilton, B. Gruen, B. Randolph, RCA 12264 CPP R. Burns, K. Davis, MCA 51132 CLM 42 7 STRAIGHT FROM THE 7 10 WHO'S CRYING NOW Journey 82 2 STEAL THE NIGHT - Stevie Woods - HEART -The Allman Brothers Band T. (Mike Stone 8 Kevin Elson), S. Perry, J. Cain, (Jack White), B. Bowersock, Veitch, (John Ryan), D. Betts, J. Cobb, Arista 0618 CPP Columbia 18.02241 CPP M. Vernon, Cotillion 46018 (Atlantic) 40 40 9 I'M IN LOVE - Evelyn King Mickey 9 6 ARTHUR'S THEME Christopher Cross 73 75 11 YOU DON'T KNOW ME- Gilley !N - (Morrie Brown), Hashif, RCA 12243 MCA (Jim Ed Norman), C. Walker, E. Arnold, Epic 1402172 CHA -HL (Michael Omartian), P. Allen, B. Bacharach, C. Cross, C. Bayer Sager, Warner Bros. 49787 WBM 41 20 16 FEELS SO -Alabama RIGHT 83 2 YOU SAVED MY SOUL -Burton Cummings (Alabama, Larry McBride, Harold Shedd), R. Owen, 8 8 14 (B. Cummings, R. Robb), B. Cummings, Alfa 7008 LADY YOU BRING ME UP- Commodores RCA 12236 WBM (James Anthony Carmichael & Commodores), W. King, P «T 85 2 IN THE DARK -Billy Squier H. Hudson, S. King, Motown 1514 CPP 48 5 SHE'S A BAD MAMA Carlton JAMA -cad (Mack & Billy), B. Squier, Capitol 5040 (L Haywood), Leon Haywood, 20th Century-Fox 2488 (RCA) 10 9 STEP BY STEP -Eddie Babbitt 76 71 12 YOU'RE MY GIRL - Franke & The Knockouts (David Malloy), E. Babbitt, E. Stevens, 43 44 6 BACKFIRED - Debbie Harry (Steve Verroa), F. Previte, W. Etworthy, B. Harrison, D. Malloy, Elektra 47174 (Niles Rodgers & Bernard Edwards), N. CPP Rodgers, B. Edwards, Millennium 11808 (RCA) CLM Chrysalis 2526 WBM 10 2 17 HAND Pointer SLOW - Sisters n ATLANTA LADY -Marry Balm (Richard Perry), M. Clark, J. 44 21 11 THAT OLD SONG -Ray Parker Jr. & Raydio Bettis, Planet 47929 (Elektra) WBM (John Hug), J. Banish, EMI-America 8093 (Ray Parker Jr.), R. Parker Jr., Arista 0616 CLM 11 19 5 START ME UP -The Rolling Stones 86 2 SAUSALITO SUMMERNIGHT Diesel 61 2 TRYIN' TO LIVE MY - (The Glimmer Twins), M. nagger, K. Richards. Rolling Stones LIFE WITHOUT (Pim Koopman), M. Boon, R. Vundernik, Regency 96000 (Atlantic CPP Records 21003 (Atlantic) CPP YOU-Bob Seger & The Silver Bullet Band 79 3 MAGIC MAN -Herb Alpert li (Bob Seger, Punch), E Williams, Capitol 9686 CPP 80 14 9 HOLD ON TIGHT -ELD (Herb Alpert), H. Alpert, M. Stokes, M. Ragin, A&M 2356 CPP /ALM (Jeff Lynne), J. Lynne, let 5 -02408 ABP -CLM 46 26 14 LOVE ON A TWO WAY 88 2 (Want You) BACK IN MY 13 11 26 JESSIE'S GIRL -Rick Springfield STREET -Stacy Lattisaw LIFE AGAIN -The Carpenters (Keith Olsen), R. Springfield, RCA 12201 CLM (Narada Michael Walden), S. Robinson, B. Keyes. (Richard Carpenter), K. Chafer, C. Christian, A&M 2370 Cotillion 46015 (Atlantic) CPP 18 9 THE BEACH BOYS MEDLEY -The Beach Boys 57 5 THE 89 2 YOU'VE GOT A GOOD (B. Wilson, M. Love, M. Passed, C. Berry and R. Christian), THEME FROM HILL STREET B. Wilson, Capitol 5030 CPP BLUES -Mike Post Featuring Larry Carlton LOVE COMING -van Stephenson (Bob Montgomery), D. Morrison, V. Stephenson, S. Silbar, (Mike Post), M. Post, Elektra 47186 CPP CPP 15 12 20 THE THEME FROM THE "GREATEST Handshake 8 -02140 AMERICAN HERO 52 6 BURNIN' FOR YOU -Blue Oyster Cull " -Joey Scarbury 90 2 STAY AWAKE Ronnie Laws (Martin Birch), D. Reeser, R. Meltzer, Columbia 18 -02415 - (Mike Post), M. Post, S. Geyer, Elektra 47147 ABP -CLM (Ronnie Laws), R. Laws, Liberty 1424 49 8 TEMPTED -squeeze 16 13 12 COOL LOVE -Pablo Croix AIMING AT YOUR HEART -Temptations (Roger Bechirian), G. Tilbrook, C. Difford. A &M 2345 (Tom C. Dowd), Lenins, D. Jenkins, 1. Pierce, A&M 2349 CPP -ALM (Thom Bell), J.B. Jefferson, C.B. Simmons, R. Roebuck, Gordy 58 4 LOVE ALL THE HURT 7208F (Motown) 17 15 18 THE BREAKUP SONG -Greg Kihn Band (M.K. Kaufman), G. Kihn, S. Wright, Beserkley 47149 AWAY- Aretha Franklin & George Benson NO TIME TO LOSE -The Tarney /Spencer Band (Elektra) WBM (Aril Mardin), S. Dees, Arista 0624 CPP /ALM (David Kershenbaum), A. Tarney, T. Spencer, A&M 2366 22 7 THE VOICE -The Moody Blues 51 51 6 ALL I HAVE TO DO I'M GONNA LOVE HER FOR (Pip Williams), J. Hayward, Threshold 602 (Polygram) WBM IS DREAM -Andy Gibb & Victoria Principal BOTH OF US -Meat Loaf (Andy Gibb 8 Michael Barbiero), B. Bryant, (Meat Loaf & Stephen Gallas), J. Steinman, Epic /Cleveland 23 9 FOR YOUR EYES ONLY Sheena Easton - RSO 1065 (Polygram) HL International 14.02490 WBM (C. Neil), B. Conti, M. Leeson, Liberty 1118 B -3 52 55 9 HEAVY METAL -Don Felder 86 72 13 EVERLASTING LOVE-Rex Smith /Rachel Sweet 28 5 THE NIGHT OWLS -Little River Band (not listed), D. Felder, Full Moon /Asylum 47175 (Elektra) CPP (Rick Chertoff), B. Cason, M. Gayden, Columbia 18 -02169 B -3 (George Martin), G. Goble, Capitol 5033 WBM 53 54 6 SILLY - Deniece Williams THE HOUSE OF THE RISING 25 7 IN YOUR LETTER -BED Speedwagon (Thom Bell & Deniece Williams), J.D. Williams, F. Baskett, C. cm* (Kevin Cronin, Gary Richrath, Kevin Beamish), G. Richrath, McDonald, ARC /Columbia 18 -02406 SUN -Dolly Parton Epic 14.02457 WBM (Mike Post) not listed, RCA 12282 CPP 54 50 9 SQUARE BIZ -Teen Marie 24 8 I COULD NEVER MISS YOU -Lulu (not listed), T. Marie, A. McGrier, Gordy 7202 (Motown) CPP 88 73 5 NOT FADE AWAY-Eric Hine (Mark London and Lem Lubin), N. Harrison. Alfa 7006 WEM (Eric Hine), T. Petty, T. Harden, Montage 1200 63 4 ALIEN -Atlanta Rhythm Section 89 91 2 (Let's Dance) MAKE YOUR BODY 27 11 BREAKING AWAY - Balance (Buddy Buie), B. Buie, S. McRay, R. Lewis, (Balance, T. Bongiovi), P. Castro, Portrait 24 -02177 (Epic) WBM Columbia 18-02471 CPP MOVE -West Street Mob (They Robinson Jr.), Pleasure, Henderson, 70 2 SAY GOODBYE TO HOLLYWOOD -Billy Joel 16 12 REALLY WANNA KNOW YOU -Gary Wright Johnson, Peters, Sugarhitl 763 (Phil Ramone), B. Joel, Columbia ABP (Gary Wright & Dean Parks), A. Thomson, G. Wright, 1802518 /CLM Warner Bros. 49769 CPP /WBM AT THIS MOMENT -Billy & The Beaters 57 31 15 I DON'T NEED YOU -Kenny Rogers =MO (Jeff Baxter), B. Vera, Alfa 7005 WBM (Lionel B. Richie Jr.), R. Christian, Liberty 1415 WBM 32 3 SHARE YOUR LOVE -Kenny Rogers (Lionel B. Richie, Jr.). A. Braggs, D. Malone, Liberty 1430 MCA 91 74 17 IN THE AIR TONIGHT -Phil Collins 66 4 OUR LIPS ARE SEALED -The Go -Go's (Phil Collins), P. Collins, Atlantic 3824 WBM (Richard Gottecher, Rob Freeman), J. Wiedlin, T. Hill, I.R.S. 29 7 SUPER FREAK -Rick lames 9901 (A&M) 92 76 14 TOUCH ME WHEN WE'RE (Rick lames), R. James, A. Miller, Gordy 7205 (Motown) CPP 59 46 18 BOY FROM NEW YORK DANCING -Carpenters 4 PRIVATE Hall & 34 EYES -Daryl John Oates (Richard Carpenter), T. Skinner, J. L Wallace, K. Bell, CITY Manhattan Transfer (Daryl Hall 8 lohn Oates), D. Hall, W. Posh, S. Allen, J. - A&M 2344 CLM Allen, RCA 12296 CLM (lay Graydon), J. Taylor, G. Davis, Atlantic 3816 CPP 93 78 7 SHAKE IT UP TONIGHT -Cheryl Lynn 60 47 18 HEARTS -Marry Bahn 30 7 DRAW OF THE CARDS -Kim Carnes (Ray Parker Jr.), M. Sutton, B. Sutton, Columbia 11 -02102 ABP /CLM (John Hug), J.
Load more

Recommended publications
  • Adult Contemporary Radio at the End of the Twentieth Century
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known.
    [Show full text]
  • Young Americans to Emotional Rescue: Selected Meetings
    YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music.
    [Show full text]
  • Confessor Free
    FREE CONFESSOR PDF Terry Goodkind | 757 pages | 29 Mar 2010 | St Martin's Press | 9780765354303 | English | New York, United States Confessor | Sword of Truth Wiki | Fandom How far this process Confessor gone in the days of the Confessor is a question to Confessor we shall return. The clamor prevented the king talking with the confessorwho read Confessor prayer-book. She humbled herself before the church, whose voice she believed she heard through the lips of her confessor. He had Confessor suave and winning ways as confessorthough he enjoined Confessor strictness as preacher. Next to these sat the clerks of the Confessor, with the King's Confessor at their head. Edward the Confessor. See how many words from the week of Oct 12—18, you Confessor right! Words nearby confessor confessional televisionconfessionaryconfession of faithConfessionsConfessions of an English Opium Eaterconfessor Confessor, confetticonfidantconfidanteconfideconfidence. Words related to confessor priestmartyrsaintfather confessortrue believer. Example sentences from the Web for confessor How far this process had gone in the days of the Confessor is a question to which we shall return. The Countess of Charny Alexandre Dumas pere. Roman Catholicism in Spain Anonymous. Harold, Complete Confessor Bulwer-Lytton. Christianitymainly RC Church a priest who hears confessions Confessor sometimes acts as a spiritual counsellor. Writing Help Is Here! Try For Free! The Confessor (album) - Wikipedia Please help Confessor the mission of New Advent and get the full contents Confessor this Confessor as an instant download. The word confessor is derived from the Latin confiterito confess, to profess, but it is not found in writers of the classical period, having been first used by the Christians.
    [Show full text]
  • Sammy Strain Story, Part 4: Little Anthony & the Imperials
    The Sammy Strain Story Part 4 Little Anthony & the Imperials by Charlie Horner with contributions from Pamela Horner Sammy Strain’s remarkable lifework in music spanned almost 49 years. What started out as street corner singing with some friends in Brooklyn turned into a lifelong career as a professional entertainer. Now retired, Sammy recently reflected on his life accomplishments. “I’ve been inducted into the Rock & Roll Hall of Fame twice (2005 with the O’Jays and 2009 with Little (Photo from the Classic Urban Harmony Archives) Anthony & the Imperials), the Vocal Group Hall of Fame (with both groups), the Pioneer R&B Hall of Fame (with Little An- today. The next day we went back to Ernie Martinelli and said thony & the Imperials) and the NAACP Hall of Fame (with the we were back together. Our first gig was to be a week-long O’Jays). Not a day goes by when I don’t hear one of the songs engagement at the Town Hill Supper Club, a place that I had I recorded on the radio. I’ve been very, very, very blessed.” once played with the Fantastics. We had two weeks before we Over the past year, we’ve documented Sammy opened. From the time we did that show at Town Hill, the Strain’s career with a series of articles on the Chips (Echoes of group never stopped working. “ the Past #101), the Fantastics (Echoes of the Past #102) and The Town Hall Supper Club was a well known venue the Imperials without Little Anthony (Echoes of the Past at Bedford Avenue and the Eastern Parkway in the Crown #103).
    [Show full text]
  • Community Services Report 2009-2010
    Community Services Report 2009-2010 Music is a gift that has touched all our lives. When musicians and those who support them share the gift of music, they bring people together in a way nothing else has the power to do. In 1989, The Recording Academy® established MusiCares® to sustain music and its makers. MISSION MusiCares provides a safety net of critical assistance for music people in times of need. MusiCares’ services and resources cover a wide range of financial, medical and personal emergencies, and each case is treated with integrity and confidentiality. MusiCares also focuses the resources and attention of the music industry on human service issues that directly impact the health and welfare of the music community. In 2010, MusiCares experienced a landmark year by serving the largest number of clients to date — more than 2,200 — with $2.5 million in aid. OUR PROGRAMS AND SERVICES Since its inception, MusiCares has developed into a premier support system for music people by “Thank you so much for providing innovative programs and services designed to meet the specific needs of its constituents. supporting our family and remembering the players.” EMERGENCY FINANCIAL ASSISTANCE PROGRAM — MusiCares Client The “heart and soul” of MusiCares is the Emergency Financial Assistance Program. With a commitment to providing help to those in need as quickly as possible, this program provides assistance for basic living expenses including rent, utilities and car payments; medical expenses including doctor, dentist and hospital bills; psychotherapy; and treatment for HIV/ AIDS, Parkinson’s disease, Alzheimer’s disease, hepatitis C and other critical illnesses.
    [Show full text]
  • Nile Rodgers in New York City, 1991
    Nile Rodgers in New York City, 1991 68 MUSICAL EXCELLENCE Nile Rodgers HE CREATES A DISTINCTIVE SOUND ON THE RECORDS HE WRITES, PRODUCES, ARRANGES, AND PLAYS ON. BY ROB BOWMAN Nile Rodgers’ influence on popular music over the past forty years is nearly unfathomable. As a guitarist, songwriter, producer, arranger, and funkster extraordinaire, Rodgers has left his imprint on a stun- ningly wide array of genres including disco, R&B, rock, mainstream pop, hip-hop, and EDM. Looking over the breadth of his career, a case could easily be made that no single individual has had a greater impact on the sound of pop, from the late 1970s to the present day. ¶ Alongside his partner, bass player wunderkind Bernard Edwards, Rodgers wrote and produced hit after hit for Chic, Sister Sledge, and Diana Ross, tearing up both the dance floor and the radio. After Chic broke up and Rodgers and Edwards went their separate ways, Rodgers broke free of the disco moniker and reinvented himself, producing, arranging, and playing guitar on David Bowie’s come- back album, Let’s Dance (1983), and Madonna’s breakout album, 69 Like a Virgin (1984). Along the way he took INXS and Chic in their prime then Duran Duran to new heights with “Original Sin” with Rodgers and and “The Reflex,” respectively, and produced albums by Bernard Edwards Mick Jagger, Jeff Beck, the B-52s, and David Lee Roth. center stage, 1979 He played key guitar parts on Steve Winwood’s “High- er Love” and Michael Jackson’s HIStory. More recent- ly he cowrote and played guitar on Daft Punk’s “Get Lucky,” winning two Grammy Awards in the process.
    [Show full text]
  • LIT2013000004 - Andy Gibb.Pdf
    •, \.. .. ,-,, i ~ .«t ~' ,,; ~-· ·I NOT\CE OF ENTR'Y.OF APPEARANCE AS AllORNE'< OR REPRESEN1' Al\VE DATE In re: Andrew Roy Gibb October 27, 1978 application for status as permanent resident FILE No. Al I (b)(6) I hereby enter my appearanc:e as attorney for (or representative of), and at the reQUest of, the fol'lowing" named person(s): - NAME \ 0 Petitioner Applicant Andrew Roy Gibb 0 Beneficiary D "ADDRESS (Apt. No,) (Number & Street) (City) (State) (ZIP Code) Mi NAME O Applicant (b)(6) D ADDRESS (Apt, No,) (Number & Street) (City} (ZIP Code) Check Applicable ltem(a) below: lXJ I I am an attorney and a member in good standing of the bar of the Supreme Court of the United States or of the highest court of the following State, territory; insular possession, or District of Columbia A;r;:ka.nsa§ Simt:eme Coy;ct and am not under -a (NBme of Court) court or administrative agency order ·suspending, enjoining, restraining, disbarring, or otherwise restricting me in practicing law. [] 2. I am an accredited representative of the following named religious, charitable, ,social service, or similar organization established in the United States and which is so recognized by the Board: [] i I am associated with ) the. attomey of record who previously fited a notice of appearance in this case and my appearance is at his request. (If '!J<?V. check this item, also check item 1 or 2 whichever is a1wropriate .) [] 4. Others (Explain fully.) '• SIGNATURE COMPLETE ADDRESS Willi~P .A. 2311 Biscayne, Suite 320 ' By: V ? Litle Rock, Arkansas 72207 /I ' f.
    [Show full text]
  • Carlos Santana Blues for Salvador Mp3, Flac, Wma
    Carlos Santana Blues For Salvador mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Latin Album: Blues For Salvador Country: Japan Released: 1987 Style: Fusion MP3 version RAR size: 1444 mb FLAC version RAR size: 1808 mb WMA version RAR size: 1468 mb Rating: 4.1 Votes: 371 Other Formats: AHX MP4 MIDI ASF AU AUD DMF Tracklist Hide Credits Bailando/Aquatic Park 1 5:46 Written-By – C. Santana*, C. Thompson*, O. Vilato* Bella 2 4:29 Written-By – C. Santana*, C. Thompson*, S. Crew* I'm Gone 3 3:08 Written-By – C. Santana*, C. Thompson*, S. Crew* 'Trane 4 3:10 Written-By – C. Santana* Deeper, Dig Deeper 5 6:08 Written-By – B. Miles*, C. Santana*, C. Thompson*, S. Crew* Mingus 6 1:25 Written-By – C. Santana*, C. Thompson*, S. Crew* Now That You Know 7 10:24 Written-By – C. Santana* Hannibal 8 4:26 Written-By – A. Pasqua*, A. Ligertwood*, C. Santana*, R. Rekow* Blues For Salvador 9 5:58 Written-By – C. Santana*, C. Thompson* Companies, etc. Phonographic Copyright (p) – CBS Inc. Copyright (c) – CBS Inc. Recorded At – The Plant Studios Engineered At – Sound City Studios Mixed At – Sound City Studios Mastered At – Columbia Recording Studios Pressed By – CSR Manufactured By – CBS/Sony Inc. Credits Artwork – Jos Sances, Mission Graphica, Rene Castro Artwork, Graphics – Mission Graphica Backing Vocals – Chris Solberg (tracks: 8) Bass – Alfonso Johnson* (tracks: 1 to 3, 5 to 7, 9, 10), David Margen (tracks: 8) Coordinator – Gary Rashid, Michael Jones , Susan Harris Drums – Tony Williams* (tracks: 4), Buddy Miles (tracks: 1 to 3, 5 to 7, 9), Graham
    [Show full text]
  • Billtxxlirdlc HK11:111) .,,Ii.,..,I.Yrit1984billboard Publications 1,N
    FOR WEEK ENDING APRIL 28, 1984 56 Billtxxlirdlc HK11:111) .,,ii.,..,i.yrit1984Billboard Publications 1,N.. hr' or thispub cationmay be reproduced stored in d ,- ?neva'systemor transmitted. in any form or by ai, meanselectronicmechanical, photocopying, record- ing orotherwisewithout the prior written permission of thepub) shat O. - ,ti Y2,,5 ,,5 TITLE-Artist ..,:..,.. TITLE-Artist100.,,t, .,-..,..;: .,... TITLE-Artist I- n it I Produceri Writer, Label & Number i Distributing Label) i-i 5 17 i Producer) Writer, Label & Number (Distributing Label) - fe .O'-' (Producer) Writer, Label & Number (Distributing Label) 1 111 AGAINST ALL ODDS (TAKE A 100K Al' WEEKS HOLDING OUT FOR A HERO -Bonnie Tyler AT 9 1 34 3410 882 DANCE HALL DAYS -wane Chung ME NOW) -o,,.r (Jim Steinman) 1. Steinman. D. Pitchford; Columbia 38-04370 67 2 (Chris Hughes. Ross Cullum). Hues. Geffen 7.29310(Warner Bros.) !,! o , Ait i: it,- .i.. .. ' 8.I' 3537 8 BORDERLINE -Madonna 3 10 HELLO -Lionel Richre (Reggie Lucas, John "Jellybean- Benitez), R. Lucas; Sire 7-29354(Warner 6 8 68 4 RELAX -f rankle Goes To Hollywood O (Lionel Richre, James Anthony Carmichael) L. Riche. Motown 1722 Bros) (Trevor Horn), Gill, Johnson, O'Toole: Island 7.99805(Atco) 3 2 14 FOOTLOOSE -Kenny Loggins 11111 (38)462 THE REFLEX -Duran Duran (69)852 WHISPER TO A SCREAM (BIRDS FLY)-locle Works (Kenny Loggins. Lee DeCarlo), KLoggins, D. Pitchford; Columbia (AlexSadkin, Ian Little, Duran Duran), Duran Duran; Capitol 5345 (Hugh Jones), McNabb, Arista 1-9155 38-04310 (37)4510 WHITE HORSE -Laid Back BELIEVE IN ME -Dan Fogelberg ( 4 )4 12 HOLD ME NOW -Thompson Twins (Laid Back, Seven Dwarfs) T.
    [Show full text]
  • September 1984
    MODERN DRUMMER VOL.8, NO. 9 Cover Photo by Rick Malkin CONTENTS FEATURES ART BLAKEY After paying his dues with such greats as Fletcher Henderson, Dizzy Gillepsie and Thelonious Monk, Art Blakey went on to lead the legendary Jazz Messengers. Here, he traces his career from its inception in Pittsburgh clubs to the present, and discusses the inspiration and training he received from Chick Webb and Sid Catlett. by Chip Stern 8 CARMINE APPICE To remain at the hub of the music industry for nearly 20 years takes talent, perseverance, and versatility. In addition to drumming for such major acts as Vanilla Fudge, Rod Stewart, Ted Nugent and Ozzy Osbourne, Carmine Appice has been active as a clinician, educator and songwriter. He openly discusses his career and offers candid insights about the industry. by Robert Santelli 14 ARTHUR PRESS Drawing from his experiences as percussionist and assistant timpanist with the Boston Symphony, Arthur Press shares his thoughts about interpreting orchestral parts, adjusting to different conductors, and maintaining professionalism. He also gives advice about concert snare drums, and discusses his MMO recording, Classical Percussion. by Rick Mattingly 18 INSIDE YAMAHA 22 by Charles M. Bernstein and William F. Miller JONATHAN MOFFETT Have Drums—Will Travel 26 by Robyn Flans COLUMNS THE JOBBING DRUMMER EDUCATION JUST DRUMS 114 Avoiding Overplaying 88 PROFILES CONCEPTS by Tim Price Drumming And Prejudice JAZZ DRUMMERS WORKSHOP PORTRAITS by Roy Burns 30 Jazz Patterns In 5/4 Bobby Daniels 94 by Robyn Flans 34 THE MUSICAL
    [Show full text]
  • Merican Future Systems Unable to Find Co-Plaintiffs by GEORGE MALLET-PREVOST Ceptance Corporation, a Subsidiary of American Future Systems (AFS)
    n·usc elections pull big voter turnout, Rogers win By BARBARA ROWLAND percent in 1978, 20 percent two Rogers predicted that the split vice president by over 2,000 votes Almost twice the number ·of years ago and only 15.2 percent results would pose no problem for each. voters as last year turned out last elected last year's DUSC presi­ the officers' working relationship. The University Commuter week to elect Bruce Rogers presi­ dent. "Everyone will get a summer to Association races were also un­ dent of the Delaware The- highly competitive races for cool off and get rid of election contested and next year's presi­ Undergraduate Student Congress the executive positions were animosity," he said. dent and vice-president will be (DUSC). characterized by split ticket voting The winners of the Faculty Terry Lee Nagy and Stephen Whit­ Rogers captured 49 percent, or with president and vice-president Senate student representative posi­ more, respectively. 1,683 votes, thus defeating Mike going to the Open Campus Party tions were al$o from opposite par­ The college council races were Cochran of the Students for and secretary and treasurer to ties. Greg Wilson of Students for significantly more competitive this Students Party who received 42 Students for Students. Students won the two-year term year with 16 of the 28 positions con­ percent, or 1,429 votes. while the Scott Brayman, next year's vice­ and Susan Bennett of the Open tested compared to 25 unopposed remaining nine percent went to president, defeated Dan Katzeff b}· Campus Party won the single-year races last year.
    [Show full text]
  • A Band Together. but Who Knew We'd Find As Durable an Application Of
    o R M D EVERY MUSICIAN KNOWS IT’s THE RHYTHM SECTION THAT HOLDS a band together. But who knew we’d find as durable an application of that maxim as the one exemplified by the history of Fleetwood Mac? & Over the last thirty years, Fleetwood Mac has comprised fifteen musicians shuffled through six major lineups, resulting in endless tin- kerings with tone and genre. Yet the two members to survive it all rarely write tunes and never front the recordings. They’re the beat- keepers - drummer Mick Fleetwood and bassist John Me Vie. The fact that a rhythm section could sustain a band through thirty years seems all the more amazing considering the traumatic histories of the band’s shifting array o f stage-front stars. Together, their personal lives have given rock one of its most elaborate and juicy plotlines. (L Religious conversions, spells o f madness, “incestuous” liaisons within the band, drug freak-outs, alleged brainwashings, imperson- Mick ^ stevie ations, everything short of murder have spun Nicks, John McVie, Christine McVie, Lindsey Fleetwood Mac’s legacy into a story worthy of Buckingham (from left) Scheherazade. & Musically the band has endured just as many twists, moving from blues to rockabilly to laid-back California folk rock - finally to bloom into purveyors of some of the most popular and endur- ing music of the Seventies. (L It all began humbly enough. In 1967, the B Y J I M FÄRBER The band in '69: Peter original foursome convened as arch Fame entrant, Santana). If that wasn’t enough, Rose also saw the Green, Fleetwood, Jeremy devotees of the blues, arriving in the band adding nineteen-year-old Danny Kirwan (who’d played in Spencer, Danny Kirwan, second wave of U.K.
    [Show full text]