Posted on 12/01/2021 9:24:18 AM PST by SunkenCiv
(his remake with his later partner)I Had A Notion | October 14, 2015 | Thomasina Winslow & Nick Katzman - Topic
(2009 Digital Remaster)The Thoughts Of Emerlist Davjack | November 11, 2014 | The Nice - Topic
I'm A Believer Original - Neil Diamond | March 9, 2011 | lindabecki
Freddy "boom boom" CannonFreddy Cannon - Tallahassee Lassie (1959) | March 30, 2013 | 58'chrysler
Provided to YouTube by RhinoThe Kind of Girl I Could Love (Alternate Mix) (2006 Remaster) | November 7, 2014 | The Monkees
Provided to YouTube by RhinoThe Girl I Knew Somewhere (Stereo Remix) | February 12, 2016 | The Monkees
Funny singing parrot Poncho and animal trainer David Frank on "The Tonight Show Starring Johnny Carson" in 1981.Poncho The Parrot Blows Johnny Away | Carson Tonight Show | February 6, 2011 | Johnny Carson
Powell died on 5 April 1998 following a car crash while driving his Saab 9000 at 104 mph (167 km/h) in bad weather on the M4 motorway near Bristol. He had been dating a married woman who was having problems with her husband. Upset, she phoned him and asked him to come quickly to her house which was approximately 35 miles (56 km) away. As he was driving to her house, she phoned him again and asked "Where are you?" He informed her he was on his way and she then heard him say "Oh shit!" followed by a loud bang.
But he didn't become part of ELP, as ELP had broken up in 1979. In 1985 he joined up with Keith Emerson and Greg Lake as a member of Emerson, Lake & Powell. While I could see where the confusion sets in, he was never a part of the original ELP, but he was part of a semi-reconstituted ELP, in name only. 🙂
Different name, but was called ELP, and they did one tour, covering old ELP and Nice tunes and (it sez here) a Lake-era King Crimson tune, so, regardless of the nomenclature, they were ELP with a different drummer. It’s difficult to believe that they just chose the drummer on ability, good though he was.
For over 50 years, The Monkees are just popular as they were when they first rose to fame. Now, members Mike Nesmith and Micky Dolenz open up to Angela Bishop in a chat that's filled with secrets, lies, laughter and tears.The Monkees' Mike Nesmith & Micky Dolenz Open Up Like Never Before | Studio 10 | June 6, 2019 | Studio 10
from 1967 album "Reach Out"Four Tops "Last Train To Clarksville" | June 18, 2009 | wes170
STEVE VAI: ‘It Was A Complete Honor To Be Able To Play’ EDDIE VAN HALEN’s Parts With DAVID LEE ROTH
Blabbermouth | December 7, 2021 | N/A
Posted on 12/11/2021, 11:05:10 PM by DoodleBob
https://freerepublic.com/focus/chat/4020443/posts
On December 9, 1965, A Charlie Brown Christmas aired on TV screens across America and instantly captured the hearts and ears of a generation. Bolstering the animated special, based on Charles M. Schulz’s immensely popular PEANUTS comic strip, was an engaging score from Bay Area jazz artist Vince Guaraldi, who brought characters like Charlie Brown, Lucy, and Snoopy to life through his evocative cues.
Working primarily with bassist Fred Marshall and drummer Jerry Granelli, Guaraldi paired inspired interpretations of traditional holiday fare (“O Tannenbaum,” “Hark, the Herald Angels Sing,” and “What Child Is This”) with original compositions, including the instantly recognizable “Linus and Lucy” theme, “Skating,” and “Christmas Time Is Here.” The latter song, available as both an instrumental and vocal track, featured young choral singers from St. Paul’s Episcopal Church in San Rafael, CA.
More than five decades later, the Emmy® and Peabody®-winning animated classic has spawned more than two dozen subsequent PEANUTS specials. Guaraldi’s soundtrack, meanwhile, has since become one of the best-selling jazz albums in history, second only to Miles Davis’ Kind of Blue, and regularly ranks among America’s top-selling holiday albums every December.Vince Guaraldi Trio - Christmas Time Is Here (Vocal) | December 4, 2012 | Vince Guaraldi
(based on the vid quality, I'd guess this is a reupload of the original, which was a bit earlier than this)Hey Ya! Charlie Brown Style | March 30, 2006 | CommyOstrich
I was thoroughly throttled when the Fahey lightning bolt struck me many moons ago. And like so many other fingerpickers I count him as a primary influence when it comes to guitar soli. His legacy casts a shadow like no other and I continue to be intimidated by what a giant he is.
Initially, I was motivated to fingerpick by hearing, seeing, and learning from John Jackson a good many years before I ever even heard of John Fahey. I feel lucky that was the case for me since I didn’t have the weight of who JF was when I was trying to get my thumb moving through blues tunes. It also helped me later to understand the basic foundation of his playing and how he used it to exploit his other influences in his compositions. This was integral to the way I started to think about identity in 20th century American music when I was studying as a post bachelor at university.
When I started graduate school I had become disillusioned with the whole academic scene. In retrospect, I think I expected too much out of the experience and assumed, quite incorrectly, that if I was around people that took music seriously at an academic level then it would encourage and inspire me to become a better and more professional musician. What I found, mostly, were students that lacked passion and professors that lacked vision. I was frustrated and ready to move on right around the time I was given the opportunity and resources to enter the graduate program. So, I decided to be proactive and find a solution to what I saw as self-imposed limitations to analysis via historical and academic dogma, especially when it came to American music in the 20th century. Borrowing from Bartok, who saw a country’s cultivated music as coming from its folk, or vernacular, styles, I wanted to research what American vernacular meant in order to create a model to define identity.
The relative youth of the United States combined with technological advancements during the country’s infancy created a different kind of traditional music experience not found in other cultures and countries. My opinion (of course not mine exclusively) was that recorded music essentially disrupted the process of analyzing regional vernacular music styles and that the only way to look at music culturally in the 20th century, especially post war, was to consider the model as it pertained to the specific subject. By the early 20th century radio became more prevalent and music slowly started to become static and fixed via recordings, and regional exposure became less and less defining. What musicians began to share was the process as an influence, not influences themselves, and therefore this process is what defines the musical identity. To put it more simply: music in (vernacular) = music out (cultivated).
At the time I was really connecting with the American Primitive school and JF fit the model for my research perfectly. I wasn’t interested in writing any real biography, only appeasing my advisor who had no idea who JF was, by writing a short introductory chapter on his basic background. What I really wanted to examine was his music in the context of my model. His technical influences were clear and traceable, and he was open and sometimes obvious about his compositional directions so connecting the dots between the influences was often straightforward. That’s not to say all his motivations, style, and processes were easily laid bare but that wasn’t the point.
I think that JF was very much of his time. And I think that since there is a certain clarity in his musical background that is in part why so many people connect with him and find a path towards their own creative selves through his influence, myself included. And even though I set this model up and took JF through it the best I knew how I was really doing it for myself to make sense of my own frustrations. Of course, now it’s more of a universal model for analysis and with the internet, there isn’t any real separation between how most people and cultures define themselves since there is a certain equality of accessibility by and large, with exceptions certainly.
“Red Pony” is the only JF composition I ever recorded. And besides “When the Springtime Comes Again,” which I performed one time at a memorial concert in Takoma Park, MD a long time ago, it’s the only one of his pieces I ever routinely played live. I don’t know what struck me so much about “Red Pony” but when I revisited the great video of him playing on “Guitar Guitar” in order to refresh my memory on how to play it, I think the amazing bit of performance art on display had something to do with it.
It’s hard to be a fan and not be a fanboy, and the number one influence I have tried to take from John Fahey is his rejection of idolatry followed closely by the idea that music, as practice, is ephemeral. Unfortunately, both are rarely on display at large. Video 34 of 2017.Red Pony | August 22, 2017 | Nick Schillace
Ja nuns hons pris · Ensemble Alla Francesca · Emmanuel Bonnardot · Raphaël Boulay · Pierre Hamon · Brigitte Lesne · Richard Cœur de Lion · Anonymous · Ensemble Alla francesca · ERichard Cœur de Lion, troubadours et trouvèresJa nuns hons pris | November 15, 2018 | Ensemble Alla Francesca - Topic | Provided to YouTube by Believe SAS
Steely Dan - Kings | November 10, 2014 | VinylForever
Music video by Voces8, Sibéal performing Traditional: Carrickfergus (Arr. Pacey).Voces8, Sibéal - Traditional: Carrickfergus (Arr. Pacey) | January 10, 2019 | VOCES8
(William Shakespeare as a lyricist, probably a good choice ;')David Gilmour Sonnet 18 | September 4, 2006 | scoobydino
Leo Kottke - Can't Quite Put It Into Words | October 24, 2011 | T Finn
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