DOCSLIB.ORG

MM" ,/ Ljtta) Fln; #-{

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MM I99 KINGSToN RoAD LoNDON SW}g TeI,OI_540 oasi.. l 'rv MM" ,/ lJttA) fln; #-{ tru'rtterry Xffm-ry*LSS.e.Re.ffiS. seeffixss eg-ge"k&R"-4ffi *es-e cherry Red Recolds r. the Lond,on baeed, independ.ont Record. conpanyr have slgned, a three yo&r llce,'se a,greenent wtth the Sristol based gecords. Eeartbeat cherr! n"a sill-be marke! ?"d. prornote arl Eeartbeat product whicb wtli i*clud.ed, ritb cherry Redrs d,istriiutlon d.ear rriu-fp"rtan Rec ordg r First new release und,er the agreement nill be a l2,r track single by 3ristol. band. t0LAX0 4 $ersht6$ho"'A}n3.1'"]';f;i".;i'i:}'ix$i*;';;'kgr+BABrEsr wh,Lch iE rereased of stoqk for ine rait i;;; rsonthE. said raln Mc$ay on behar.f ol cherry Red,r?here are talented acts energlng f:rom tnl gristor so&e vexy will retaia totarTeY coirtioi-over &r€*r seaibeat conplo tetv ret'ain tbeir i"u*i-ii-"iiti.tbatr A. arrd, R. gid,e and havo the ad.vantage fiowever, they irr.rl 'ow of nationar *riirruutron asd havE il:fffr,tronotionaL and' markotlns raciriii.u ;;-*;;; i*,*r" ].lore luformatioa lain Uc$ay on 540 6g5I. ilrrsct*r: IeenMclrlry Registered Office, fr* S*uth .&udi*y Stre*t, fu*nc3*n W I t{u*r,r*+xl b€gK\S* €.ft*Jz-lr{ & Glaxo Babies : rliine Ilionths to the liscot (Cherry Red./ Heartbeat) Of all the new bands spawned in the Sristol area over the last few years, very few have had any lasting effect on the national scener most having dissolved into a mediochre pop/p.p soup. But a few remaj.nl the Pop Qroup stand. out as the most obviously influential. Uthers, such as Gard.ez Darlr and the Gl-axos seem to be rather overshadowed by them -.but a hearing of this elpee ought to convinee anyone (unless theytre absolutely certain that the U.K.Srrbs ar" the future of rockrnrroll: wait and see; kids) that the Glaxo Babies are not to be swept under the carpet with the rest of the -post-punk l-eftovers The band" have considerably changed, in style and presentation since their earlier recorded work (an -e1F, a single, and a track on 'Avon Callingr ), not least because of lineup changes - they now lack a proper vocalist. For one thing, much of tire acessibility and the accepted I songr structures of the earlier tracks have gone out of the window - not that there should. be anything rrrrong viith that - though the d,rivingr nuscular rhythms remaint a;1d. funk/diseo i.nflusnces are more prominent than ever. Any comparisons nust be inadequater but there are touehes of Pere Ubur Pop Groupr George C1inton, and even (aeep breath) 'Ihrobbing Gristle, just to give you an idea. The end result is varied., interesting (not i.nplying 'bosingr ) and often very amusing;. Quite honestly I'm not sure about their attitud.e on this album - especially towards disco - whether love, or hatel. or a mi.xture of both. Certainty the final track rshake (the Found.ations)'is an excellent pastiche brainless boogie, more than a little tongue-in- of bland Radio 1 formula rl'iine cheek; but other trachs seem to treat the genre with more respect. I;jonths to the1liscor and rlriaximum Sexual Joyr are good examples. The strai$rt funAfdisco rhythn is usecl a a base for a collage of voices, guitars, saxest piano, electrorricsl tapesl.,o lou name it. It is an album that I find confusing - although pleasantly so - in its attj-tud.es, but perhaps thatrs just because lrm not clever enough to work out the subtleties... or hxperhaps because there aren't an.y subtleties. Any- wayr hear it for yourself - you ought to enjoy it. f rm off .r. Ili1r headrs killing me ... n^c_A ntr Tdg CrT n€ F&x}Z*rhJL able fcrurul-a pitched at a buyers btqning public who crcwd. arour,il narket, its effort concentrated 'ihe [Ner'ilAvs" r their tag not nine - cacophony, section of record ttshake on making it sounC dramatic in stores achially feel obliged to a woodwind racket. The poise and nechanicgl in tone,3ut pockets Foundations" is an accomplish€d, tfl,{etaureticfr dip into their for such is not aii poap and pigeorholeC ordinary slab of hard, drivlng ttTidal an LP because of its s trrrc tr.ire . Tracks like ilnew wavel conno'rationsn because firnk, (better than the Average 'rTaveil |tBluned and Cirltf are sub- the goepel of Jch-n Peel plays '. lrite Sand), well removed fron tler €8si1y nelodic ideas where snd reconnends it, because ag the shadowy extrenes of dance synthesizers are used synpathet- rrnew mrsic handled elsewhere on ttre part of tbe ravet oarket tt0onsciencen ically as instnrnents and not as nore worthwhile product album. is a jumbled itts e - ilThe s;rrthetic fill"ingr percussively irrespective of i.ts nerits - than arld P$ish workort. Tea rnore fertile in rhythn - as is nusic created outsi<ie the |tnew :Uaster And The Assassinn is s zatt and 'riyletal Seattr than waverf vecuun, be-cause grouprs wierd , disquie tJ.ng ti.ck-tock "Fla - the .rhe anything }Tlrnan t s done. Ttre effori nane, the LPfs title and its over an eapty vibration and here is concentrated on. naking cover iook j.nteresting or becau- title track is a scratched tape music. There the contr)arisons se people genuine\r like it? Itd J,oop acting ss pacernaker to a ree1ly end. John Fo:cc has nanaged love to l..now. To those who ''vould hotchpotch of fleeting, tattered to create a sorxld that treads a say Sine l{onths to fhe Disco j.s nois es that interrupt and rico- rf chet around. synthipop ( f ; " line on 'rlierv Kind odd, diffarent, and adventurous fhe nos.t inieresting tf -. pi.eces are ttDinosaur 0f ]'{antr, I{o One Drivingtt with I worrld agree. 3ut.. '... Discc i{eets its rip-off of The l,lotcrts tfAiT- T{ith the accent on experimentat- ii:.e Swanpsstomptt, which sounds t'Touch portrr raelody - and And Cott ion lmd without any obvious fi'aine li.ke two stegpsaunus singing and rrhich is strangely reniniscent of to work to and arorrnd. iCe- farting *n the bath while a pte-. t rfDance -work XfC s Bandft. Those three as and their end product cen rrl rodac'i,yi gargles in the swamp, iracks convinced ne of one thLng. rife anrl out of controL end it {urd frThis Is Your Vendetta'f Tith John F'c'x:r wants to let the mach- i can all be nede to sound rra?tJl'il its loping bass, emBty stmcture ines talk but keeps a tight rein and tf escapist'r and breaking new alrd Fanorana lnterrriew tacked and open nrinC on how they utter ground just onto the end. The question is by being cild, diff- lrwho the:.r pearls of wi$tlom. Gary ltru- erent and sounding urccriy€ntion- is the creaturett and ttwhose noan wants the nachines to talk al. 3ut vhere and when does it rendeita ls it aqlnray?tr. But but often souncis a,s if he is sh- stop and become fornless, rstrsic- where t s the owner? Yes. The outed down and told wha'b to ,ilo. al self-indulgence? Itrg an ev- albumt s certainly odd, differenr" tsut having said that, r'}te tana tic'l eryone to their own judpment adventurous. like a pile of is stili in the nain f.Lawless, again. And iightLy so. rrlline bricks ln the itra tional Gallerlf - t nanicured ebb of sioek assembly irlonths [o The Discor is the Gia-- i t s new, uncclru-en tional and Line eiecironics end serioif,s, xo Sabies debut albun. The group art. Is it? TIeIi, tha t t s up to textbook vocal .- ihe nionetone have lost singer..Rob Chapnan vho Xor4r fe 'tl{i.ne Monihs Tq T}e Dis- set!! - thatts not alwa3-s Sood pemed trltrs lrretional't on the co 'r a vortex of smrg noise or a but never bad or unllstenabLe. oAvon Callingt' Bristol conpilat- clever, brave primal pursuit ? t 5'oxrc proves that he s a ciever icn and rrffiro (il-led Bnrce Lee?tt Fer$onal}y, I think the sun of who ideas greater the crafsrnan nay not nake 1980 on the "Irabels Unlimited'r si.nil- the are than the year of the synthesizer but ar excercige and with for:nder randon parts. 3ut the project is who -qont t be shoi riown fcr not mernber Don Catsis of the Pop not to be sneered at even if , ai trying. Jus t a couple cf things Group involved, therers been a tines, rt does sound like This though. T/iry ooes eLectrcnj.c firlis- change of directicn and enphasis. I{ea t. ic handled like tbis so''rnd so 'rA fusion to extend the nodern 'tNine i,{onths To The Discot'. soulLess Brrd huno';rl.ess, uevciC dancerr their record label bh.rrb Certainly ccnceived by The Clai:o of war"nth alrd feeling? Surel}' it says. I\rsion ! l,Iot so suie. flre Eabies. doesntt al.ways heve to be buili; tone of ttre alburn is prinai, nu- Eut is it a phantom pr€gnaricf ? with such steely, colo scaffoti.- tant dlsco rilythns :r:nning for ing arorrnd it? And why conssious- colter under a stark, deliberat- GRAHA}.,{ NEIJfSO$. ly om:it et1y other conventi'cnai e1y gutted sound that is usecl as lnstnrnenis (apart from ihe fr-in- a roesh to filter through disjoin- ctionall.y rxrob tnrsive bass ) ? it ted, ranshackle ideas and noises.
Load more

Recommended publications
  • Hawkwind – 50Th Anniversary Live
    Hawkwind – 50th Anniversary Live (58:39 + 48:56, CD, Vinyl, Cherry Red Records, 2020) So kennt man die Space-Rock- Urgesteine. Da feiern Hawkwind ihr 50-jähriges Jubiläum, aber statt darum ein Riesenbrimborium zu veranstalten bauen die Mannen um Dave Brock völlig unprätentiös eine Setlist aus einiges unverwüstlichen Klassikern, aber ebenfalls Material des aktuellen Studioalbums „All Aboard The Skylark“ zusammen. Optisch ansprechend verpackt mit einer Laserhsow, dazu als Gast den langzeitig freundschaftlich verbundenen Kompagnon Phil Campbell – seines Zeichens Gitarrist bei Motörhead – und fertig ist das individuelle Geburtstagspaket. Der Mitschnitt zu diesem Livealbum entstand auf dem Abschlusskonzert der „50th Anniversay Tour“ im November 2019 in der legendären Royal Albert Hall in London. Es steht zwar „50“ drauf, aber letztendlich steckt natürlich etwas weniger drinnen. Denn Hawkwind streifen eben nur einige Stationen ihrer umfangreichen Karriere, setzen zwar in erster Linie auf die Klassiker der 70er wie z.B. ‚Born To Go‘, ‚Space Is Deep‘, ‚Spirit Of The Age‘, ‚The Watcher‘, ‚Silver Machine‘ oder die beiden Doppelpacks ‚Assault And Battery / The Golden Void‘ und ‚Master Of The Universe / Welcome To The Future‘. Doch genauso bekommen insgesamt fünf Stücke aus „All Aboard The Skylark“ ihr Recht. Letztendlich ist dies ein teilweise übergangslos ineinander greifender Mix aus offensichtlichen Klassikern, wenngleich ohne die ganz großen Überraschungen. Dazu noch ein kurzes Blitzlicht in die 80er und 90er, angereichert um aktuelle Stücke. Immerhin gedenkt man beim unverwüstlichen ‚Silver Machine‘ dem legendären ehemaligen Bandmitglied Lemmy Kilmister, wobei ebenfalls der typische augenzwinkernde Humor nicht fehlen darf. Denn der bei diesem Stück den Gesang übernehmende Schlagzeuger Richard Chadwick kontert ganz locker die Frage „Richard verliert seine Stimme, möchtest Du noch ‚Silver Machine‘ singen?“ mit einem klaren „Es geht noch“ und schon geht die sprichwörtliche und gut geölte Space-Rock-Post, der Trip in weite Sphären, mit Volldampf ab.
    [Show full text]
  • Issues of Image and Performance in the Beatles' Films
    “All I’ve got to do is Act Naturally”: Issues of Image and Performance in the Beatles’ Films Submitted by Stephanie Anne Piotrowski, AHEA, to the University of Exeter as a thesis for the degree of Doctor of Philosophy in English (Film Studies), 01 October 2008. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which in not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (signed)…………Stephanie Piotrowski ……………… Piotrowski 2 Abstract In this thesis, I examine the Beatles’ five feature films in order to argue how undermining generic convention and manipulating performance codes allowed the band to control their relationship with their audience and to gain autonomy over their output. Drawing from P. David Marshall’s work on defining performance codes from the music, film, and television industries, I examine film form and style to illustrate how the Beatles’ filmmakers used these codes in different combinations from previous pop and classical musicals in order to illicit certain responses from the audience. In doing so, the role of the audience from passive viewer to active participant changed the way musicians used film to communicate with their fans. I also consider how the Beatles’ image changed throughout their career as reflected in their films as a way of charting the band’s journey from pop stars to musicians, while also considering the social and cultural factors represented in the band’s image.
    [Show full text]
  • Smash Hits Volume 34
    \ ^^9^^ 30p FORTNlGHTiy March 20-Aprii 2 1980 Words t0^ TOPr includi Ator-* Hap House €oir Underground to GAR! SKias in coioui GfiRR/£V£f/ mjlt< H/Kim TEEIM THAT TU/W imv UGCfMONSTERS/ J /f yO(/ WOULD LIKE A FREE COLOUR POSTER COPY OF THIS ADVERTISEMENT, FILL IN THE COUPON AND RETURN IT TO: HULK POSTER, PO BOXt, SUDBURY, SUFFOLK C010 6SL. I AGE (PLEASE TICK THE APPROPRIATE SOX) UNDER 13[JI3-f7\JlS AND OVER U OFFER CLOSES ON APRIL 30TH 1980 ALLOW 28 DAYS FOR DELIVERY (swcKCAmisMASi) I I I iNAME ADDRESS.. SHt ' -*^' L.-**^ ¥• Mar 20-April 2 1980 Vol 2 No. 6 ECHO BEACH Martha Muffins 4 First of all, a big hi to all new &The readers of Smash Hits, and ANOTHER NAIL IN MY HEART welcome to the magazine that Squeeze 4 brings your vinyl alive! A warm welcome back too to all our much GOING UNDERGROUND loved regular readers. In addition The Jam 5 to all your usual news, features and chart songwords, we've got ATOMIC some extras for you — your free Blondie 6 record, a mini-P/ as crossword prize — as well as an extra song HELLO I AM YOUR HEART and revamping our Bette Bright 13 reviews/opinion section. We've also got a brand new regular ROSIE feature starting this issue — Joan Armatrading 13 regular coverage of the independent label scene (on page Managing Editor KOOL IN THE KAFTAN Nick Logan 26) plus the results of the Smash B. A. Robertson 16 Hits Readers Poll which are on Editor pages 1 4 and 1 5.
    [Show full text]
  • Dennis Morris: Pil - First Issue to Metal Box 23 March - 15 May 2016 ICA Fox Reading Room
    ICA For immediate release: 13 January 2016 Dennis Morris: PiL - First Issue to Metal Box 23 March - 15 May 2016 ICA Fox Reading Room Album cover image from PiL’s first album Public Image: First Issue (1978). © Dennis Morris – all rights reserved. The ICA presents rarely seen photographs and ephemera relating to the early stages of the band Public Image Ltd’s (PiL) design from 1978-79 with a focus on the design of the album Metal Box. Original band members included John Lydon (aka Johnny Rotten - vocals), Keith Levene (lead guitar), Jah Wobble (bass) and Jim Walker (drums). Working closely with photographer and designer Dennis Morris, the display explores the evolution of the band’s identity, from their influential journey to Jamaica in 1978 to the design of the iconic Metal Box. Set against a backdrop of political and social upheaval in the UK, the years 1978-79 marked a period that hailed the end of the Sex Pistols and the subsequent shift from Punk to New Wave. Morris sought to capture this era by creating a strong visual identity for the band. His subsequent designs further aligned PiL with a style and attitude that announced a new chapter in music history. For PiL’s debut single Public Image, Morris designed a record sleeve in the format of a single folded sheet of tabloid newspaper featuring fictional content about the band. His unique approach to design was further illustrated by the debut PiL album, Public Image: First Issue (1978). In a very un-Punk manner, its cover and sleeve design imitated the layout of popular glossy magazines.
    [Show full text]
  • Reed First Pages
    4. Northern England 1. Progress in Hell Northern England was both the center of the European industrial revolution and the birthplace of industrial music. From the early nineteenth century, coal and steel works fueled the economies of cities like Manchester and She!eld and shaped their culture and urban aesthetics. By 1970, the region’s continuous mandate of progress had paved roads and erected buildings that told 150 years of industrial history in their ugly, collisive urban planning—ever new growth amidst the expanding junkyard of old progress. In the BBC documentary Synth Britannia, the narrator declares that “Victorian slums had been torn down and replaced by ultramodern concrete highrises,” but the images on the screen show more brick ruins than clean futurescapes, ceaselessly "ashing dystopian sky- lines of colorless smoke.1 Chris Watson of the She!eld band Cabaret Voltaire recalls in the late 1960s “being taken on school trips round the steelworks . just seeing it as a vision of hell, you know, never ever wanting to do that.”2 #is outdated hell smoldered in spite of the city’s supposed growth and improve- ment; a$er all, She!eld had signi%cantly enlarged its administrative territory in 1967, and a year later the M1 motorway opened easy passage to London 170 miles south, and wasn’t that progress? Institutional modernization neither erased northern England’s nineteenth- century combination of working-class pride and disenfranchisement nor of- fered many genuinely new possibilities within culture and labor, the Open Uni- versity notwithstanding. In literature and the arts, it was a long-acknowledged truism that any municipal attempt at utopia would result in totalitarianism.
    [Show full text]
  • MUSIC WEEK MAY 19, 1984 Album Tern Rulings Outside Top 20 End Top 50:- •• Good, ••Loir -Poor Soles Predicted in Oivn Specialist Market
    MUSIC WEEK MAY 19, 1984 Album tern rulings outside Top 20 end Top 50:- •• good, ••loir -poor soles predicted in oivn specialist market. Star rating under General■ heading indicates sales potential in general pop rock market, mlh • • •rating indicating onny Into lite lonicr hall ■ of chart only. High Road To China is the new film starring Tom "Magnum" Solleck and the music has been composed by that well- TOP 50 known film score veteran, John Barry. Nostalgia That's Entertainment Records has proved BRUCE FOXTON the sales potential in this area of the Touch Sensitive. Arista 206251. music market and A&R plans to release NOEL COWARD Producers: Stan Shaw/Steve Lilly- both new scores and re-issues of classic The Revues. World Records SHB 44. white. Mild-mannered rock from the film music. VARIOUS former Jam bassist. It's pleasant enough Film Themes of the 40's and 50's. SH in a conventional format, but lacks CHAIRMAN OF THE BOARD 384. dynamism — even on those tracks with Salute The General. HDH/Demon LOUIS ARMSTRONG production supremo Lillywhite at the Records LP 001. Distribution: Rough The Legend 1925-26. SH 404. controls. Ultimately a little disappointing, Trade and the Cartel. Recordings JOE LOSS but will chart, as his singles have, on the originally released on the Holland-Dozier- Party Dance Time, SH 1078251. strength of the Jam connection. Holland label Invictus now making their FELIX MENDELSSOHN FELA ANIKULAPO KUTI reappearance on vinyl via the HDH label Serenade to Hawaii, SH 1078261. Live In Amsterdam. EMI FELA 24 0129 deal with Demon.
    [Show full text]
  • “What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960S and 1970S by Kathryn B. C
    “What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960s and 1970s by Kathryn B. Cox A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology: History) in the University of Michigan 2018 Doctoral Committee: Professor Charles Hiroshi Garrett, Chair Professor James M. Borders Professor Walter T. Everett Professor Jane Fair Fulcher Associate Professor Kali A. K. Israel Kathryn B. Cox [email protected] ORCID iD: 0000-0002-6359-1835 © Kathryn B. Cox 2018 DEDICATION For Charles and Bené S. Cox, whose unwavering faith in me has always shone through, even in the hardest times. The world is a better place because you both are in it. And for Laura Ingram Ellis: as much as I wanted this dissertation to spring forth from my head fully formed, like Athena from Zeus’s forehead, it did not happen that way. It happened one sentence at a time, some more excruciatingly wrought than others, and you were there for every single sentence. So these sentences I have written especially for you, Laura, with my deepest and most profound gratitude. ii ACKNOWLEDGMENTS Although it sometimes felt like a solitary process, I wrote this dissertation with the help and support of several different people, all of whom I deeply appreciate. First and foremost on this list is Prof. Charles Hiroshi Garrett, whom I learned so much from and whose patience and wisdom helped shape this project. I am very grateful to committee members Prof. James Borders, Prof. Walter Everett, Prof.
    [Show full text]
  • Blondie Eat to the Beat Mp3, Flac, Wma
    Blondie Eat To The Beat mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock / Pop Album: Eat To The Beat Country: Sweden Released: 1979 Style: New Wave MP3 version RAR size: 1971 mb FLAC version RAR size: 1674 mb WMA version RAR size: 1855 mb Rating: 4.8 Votes: 904 Other Formats: ASF VOX MOD MPC AIFF VQF FLAC Tracklist Hide Credits Dreaming A1 3:04 Written-By – C. Stein*, D. Harry* The Hardest Part A2 3:40 Written-By – C. Stein*, D. Harry* Union City Blue A3 3:19 Written-By – D. Harry*, N. Harrison* Shayla A4 3:55 Written-By – C. Stein* Eat To The Beat A5 2:38 Written-By – D. Harry*, N. Harrison* Accidents Never Happen A6 4:12 Written-By – J. Destri* Heart Of Glass A7 5:48 Written-By – C. Stein*, D. Harry* Die Young Stay Pretty B1 3:32 Written-By – C. Stein*, D. Harry* Slow Motion B2 3:26 Written-By – J. Destri*, L. Davis* Atomic B3 4:38 Written-By – D. Harry*, J. Destri* Sound Asleep B4 4:13 Written-By – C. Stein*, D. Harry* Victor B5 3:17 Written-By – D. Harry*, F. Infante* Living In The Real World B6 2:42 Written-By – J. Destri* Sunday Girl B7 3:14 Written-By – C. Stein* Companies, etc. Recorded At – Power Station Recorded At – Electric Lady Studios Recorded At – Mediasound Mixed At – MCA Whitney Recording Studios Mastered At – MCA Whitney Recording Studios Published By – Rare Blue Music, Inc. Published By – Monster Island Music Phonographic Copyright (p) – Chrysalis Records Manufactured By – Toshiba EMI Ltd Credits Art Direction – Billy Bass Design, Photography By – Norman Seeff Design, Typography – John Van Hamersveld Engineer – David Tickle, Pete Coleman Mastered By – Steve Hall Producer – Mike Chapman Notes 1st Issue Chrisalys Promo White Labels - Promo Stickered Obi - 12" Poster - Printed Inner Sleeve - 4 Pages Insert With Lyrics Recorded at the Power Station, Electric Lady & Media Sound, N.Y.
    [Show full text]
  • L the Charlatans UK the Charlatans UK Vs. the Chemical Brothers
    These titles will be released on the dates stated below at physical record stores in the US. The RSD website does NOT sell them. Key: E = Exclusive Release L = Limited Run / Regional Focus Release F = RSD First Release THESE RELEASES WILL BE AVAILABLE AUGUST 29TH ARTIST TITLE LABEL FORMAT QTY Sounds Like A Melody (Grant & Kelly E Alphaville Rhino Atlantic 12" Vinyl 3500 Remix by Blank & Jones x Gold & Lloyd) F America Heritage II: Demos Omnivore RecordingsLP 1700 E And Also The Trees And Also The Trees Terror Vision Records2 x LP 2000 E Archers of Loaf "Raleigh Days"/"Street Fighting Man" Merge Records 7" Vinyl 1200 L August Burns Red Bones Fearless 7" Vinyl 1000 F Buju Banton Trust & Steppa Roc Nation 10" Vinyl 2500 E Bastille All This Bad Blood Capitol 2 x LP 1500 E Black Keys Let's Rock (45 RPM Edition) Nonesuch 2 x LP 5000 They's A Person Of The World (featuring L Black Lips Fire Records 7" Vinyl 750 Kesha) F Black Crowes Lions eOne Music 2 x LP 3000 F Tommy Bolin Tommy Bolin Lives! Friday Music EP 1000 F Bone Thugs-N-Harmony Creepin' On Ah Come Up Ruthless RecordsLP 3000 E David Bowie ChangesNowBowie Parlophone LP E David Bowie ChangesNowBowie Parlophone CD E David Bowie I’m Only Dancing (The Soul Tour 74) Parlophone 2 x LP E David Bowie I’m Only Dancing (The Soul Tour 74) Parlophone CD E Marion Brown Porto Novo ORG Music LP 1500 F Nicole Bus Live in NYC Roc Nation LP 2500 E Canned Heat/John Lee Hooker Hooker 'N Heat Culture Factory2 x LP 2000 F Ron Carter Foursight: Stockholm IN+OUT Records2 x LP 650 F Ted Cassidy The Lurch Jackpot Records7" Vinyl 1000 The Charlatans UK vs.
    [Show full text]
  • "Erase Me": Gary Numan's 1978-80 Recordings
    Ought: The Journal of Autistic Culture Volume 2 Issue 2 Article 4 June 2021 "Erase Me": Gary Numan's 1978-80 Recordings John Bruni [email protected], [email protected] Follow this and additional works at: https://scholarworks.gvsu.edu/ought Part of the Critical and Cultural Studies Commons, Disability Studies Commons, and the Music Commons Recommended Citation Bruni, John (2021) ""Erase Me": Gary Numan's 1978-80 Recordings," Ought: The Journal of Autistic Culture: Vol. 2 : Iss. 2 , Article 4. Available at: https://scholarworks.gvsu.edu/ought/vol2/iss2/4 This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion in Ought: The Journal of Autistic Culture by an authorized editor of ScholarWorks@GVSU. For more information, please contact [email protected]. “Erase Me”: Gary Numan’s 1978-80 Recordings John Bruni ary Numan, almost any way you look at him, makes for an unlikely rock star. He simply never fits the archetype: his best album, both Gin terms of artistic and commercial success, The Pleasure Principle (1979), has no guitars on it; his career was brief; and he retired at his peak. Therefore, he has received little critical attention; the only book-length analysis of his work is a slim volume from Paul Sutton (2018), who strains to fit him somehow into the rock canon. With few signposts at hand—and his own open refusal to be a star—writing about Numan is admittedly a challenge. In fact, Numan is a good test case for questioning the traditional belief in the authenticity of individual artistic genius.
    [Show full text]
  • Exhibition Brochure Is There A
    ‘Is There Anyone Out There?’ Documenting Birmingham’s Alternative Music Scene 1986-1990 Acknowledgements and Thanks Thanks to Dave Travis for opening up his incredible archive and recalling the histories associated with The Click Club. Likewise, thanks to Steve (Geoffrey S. Kent) Coxon for his generous insights and for taking a road trip to tell us almost everything. Thanks on behalf of all Click Clubbers to Travis and Coxon for starting it and for program- ming so many memorable nights for creating an environment for people to make their own. Thanks to Dave Chambers (and Andy Morris), Donna Gee, Bridget Duffy and Bryan Taylor Thankswho provided to all of particular those who materials contributed for the written exhibition memories: (Bryan Steve for some Byrne; fine Craig writing!). Hamilton; Andrew Davies; Sarah Heyworth; Neil Hollins; Angela Hughes; Rhodri Marsden; Dave Newton; Daniel Rachel; Lara Ratnaraja; Spencer Roberts; John Taggart; Andy Tomlinson and Maria Williams. Acknowledgements to the many contributors to Facebook Groups for The Click Club and Birmingham Music Archive. John Hall and Ixchelt Corbett Mighty Mighty: Russell Burton, Mick Geoghegan, Pete Geoghegan, D J Hennessy Hugh McGuinness. Lyle Bignon, Boris Barker, Darren Elliot, Graham Bradbury, Richard March Yasmin Baig-Clifford (Vivid Projects), John Reed at Cherry Red Records, Ernie Cartwright, Birmingham Music Archive, Justin Sanders, Naomi Midgley. Neil Hollins for production of the podcast interview with Steve Coxon and Dave Travis. Digital Print Services who produced the images. Special thanks to: Neil Taylor, Ellie Gibbons, Anna Pirvola, Aidan Mooney and Beth Kane. What was The Click Club? Established in 1986 by Dave Travis and Steve Coxon, ‘The Click Club’ was the name of a concert venue and disco associated with Birmingham’s alternative music culture.
    [Show full text]
  • THE COUNTRY DANCER Is Published Twice a Year
    The magazine of Calendar of Events THE COUNTRY DANCE SOCIETY OF AMERICA EDITOR March 25, 1961 SQUARE DANCE - DICK FORSCHER & CLIFF BULLARD THE May Gadd (in cooperation with the McBurney YMCA), New York C.D.S. ASSISTANT EDITORS April or May C.D.S. THEATER BENEFIT, New York. Details counTRY A.C. King Diana Lockard Maxwell Reiskind to be announced. DAnCER CONTRIBUTING EDITORS April 6 - 8 26th ANNUAL MOUNTAIN FOLK FESTIVAL, Berea, Penn Elizabeth Schrader Evelyn K. Wells Ky. The Festival is affiliated with the J. Donnell Tilghman Roberta Yerkes Country Dance Society o! America. April 14 - 16 C.D.S. SPRING HOUSE PARTY WEEKEND, Hudson ART EDITOR Guild Farm, Andover, New Jersey. Genevieve Shimer April 29 tentative C.D.S. SPRING FrnTIVAL in New York THE COUNTRY DANCER is published twice a year. Subscription is June 2.3 - 26 DANCE WEEKEND at PII{E)iOODS, Boston C.D.S. by membership in the Country Dance Society of America (annual Centre. dues $5, educational institutions and libraries $3.) Inquiries and subscriptions should be sent to the Secretary, Country Dance August 6 - 20 PllmUOODS CAMP: 'lWO DANCE WEEKS, National Society of America, 55 Christopher Street, New York 14, N.Y. C.D.S., Buzzards Bay, Mass. Tel: ALgonquin 5-8895. August 20 - 27 PIN»>OODS CAMP: FOLK MUSIC AND ~ORDER WEEK, Copyright 1961 by the Country Dance Society Inc. National C.D.S., Buzzards Bay, Mass. , Table of Contents lll@llll§lll§lll§lll§lll§lll§lll§ lll§lll§lll§lll§lll§lll§ Page PICTURE CREDITS By Gloria Berchielli, New York: Jack-in-the­ Calendar of Events •••••••••••••••••••••••••••• 3 Green, p.8.
    [Show full text]