This is a setlist, handwritten by Elvis Presley, from a concert in Memphis on March 20, This is the original contract, signed on July 28, , for Raitt's first concert, performed on August 13, at Pennypacker Park in Philadelphia, Pennsylvania. This is Jimi Hendrix's original, handwritten lyrics to the song "Purple Haze.
The Rick Dees Papers span the years , to , and include undated material. The various materials included here chronicle Dees' career as a popular radio personality and a late night talk show host. The photographic materials, which include photographs, slides, and negatives, comprise the largest portion of the collection and include images of Dees' late night talk show Into the Night and showcase television personalities of the era and musicians, including James Brown.
This collection gives researchers a look into Dees' career as well as his private life. His awards, certificates of recognition, and the magazine clippings showcase his level of success, while the photographs and correspondence give insight to his personal life. Seen in a broader context, the collection provides a look at the career of disc jockeys from the mids to the early s and the recognition and career opportunities that were afforded them. The James Brawley Collection spans the years to and includes undated material, with the bulk of the material dating between and The collection primarily consists of bootleg audiocassette tapes Brawley recorded at various rock concerts, mostly in New York City.
Each audiocassette has a corresponding note card. Brawley's collection provides rich insight to the punk rock music scene of the late s and s. The collection provides evidence of the evolution of punk through raw bootleg audio recordings. The collection includes press kits; press releases; articles about AAP as well as the individuals, legal cases, companies, and organizations involved; and correspondence directed to AAP.
The collection offers an overview of the music piracy problem as it was viewed in the early s, as well as its perceived effects on artists and their intellectual property rights. The Four Tops Collection spans the years to , with the bulk of the material dating between The majority of the collection is business records. These records include invoices, tour information, contracts, song information, and bank records. The Collection provides rich insight to the daily life of a popular recording and touring musical group; the financial aspects in particular.
The Four Tops Collection is organized by format, with business records first, listed alphabetically by file title. The business records include invoices, bank statements, tour information, contracts, song information, original sheet music, receipts, and insurance documents.
Other formats of material follow, arranged alphabetically by file title. The Specialty Records Collection spans the years to and includes undated material. The collection consists of album flats and an album cover, black-and-white promotional photographs, correspondence, deejay tip sheets, flyers, record labels, record sleeves, publications, record review cards, and juke box title strips--all created by Specialty Records to promote their artists and their work.
Specialty Record's role in the development of rock and roll is also highlighted through collection materials related to Little Richard. The Scotty Moore Papers span the years to and include undated materials. The papers contain Moore's personal files, photographic material, clippings, and publications.
His personal files provide an in-depth look at the career and life of Moore; the correspondence and contracts are of particular note. Moore's photographic materials consist of photographs and slides spanning Moore's career and personal life. Moore's relationship with Elvis Presley and their work together is documented through the clippings in the collection. Overall, the papers showcase Moore's career from his early days at Sun records to the present, providing rich insight to the life of a rock and roll guitarist and legend.
Hollywood Knitting Factory Posters spans the years to The collection consists of 35 different concert posters for performances held at the venue. Ten of the posters are available here only in digital form.
Artists include Darren Grealish and Jim Mazza. The collection provides a glimpse into the types of acts that appeared at the Hollywood Knitting Factory, and how the shows were promoted. Seen in a broader context, the collection provides insights to how national venues promoted alternative rock from , the bands that played during that era, and the artists that created the posters. The John Platt Collection spans the years to , with the bulk of the materials dating between and The collection contains VHS tapes, audiocassettes, and personal files.
The materials are primarily centered around the ss San Francisco era of psychedelic rock. Platt's files also contain research and correspondence for many of his professional projects, including the creation of video installations and short films for the opening of the Rock and Roll Hall of Fame and Museum in The Platt Collection provides extensive insight to the professional life of a lifelong rock and roll fan and historian. Of particular interest are original concert recordings and video footage of interviews with prominent artists of the era.
Many of the video recordings are of European television broadcasts. There are over audiocassettes of Grateful Dead concert recordings in this collection. The collection consists of ten black-and-white photographs taken by Mayes at the festival. The collection provides visual evidence of the performers who appeared at the Monterey Pop Festival, on and off stage.
Seen in a broader context, the collection provides insight to the types of performers that appeared at festivals in the late s, as well as the clothing and hairstyles of the period. Kid Rock Posters span the years to The collection consists of nine different promotional and commercial posters related to Kid Rock's albums, tours, and television appearances.
The collection provides a glimpse into how Kid Rock, his albums, and tours were promoted during the s. Seen in a broader context, the collection provides insights into the promotion of high profile artists and the styles of period. The Rick Miller Papers span the years to The papers document the featured tours rather than the artists themselves and include riders, blueprints, stage plans, venue information and photographs, and lighting cues, as well as itineraries for the artists and crew, correspondence, contracts, artist requests, and carnets merchandise passports.
Miller's papers provide insight into the process of producing rock and roll concerts, specifically the aspects of administration and design. The Ralph Bass Papers, circa the s to , consist of an interview transcript of Bass, one copy of the Chicago Reader featuring an interview with Bass, and eight photographs of Bass and various performers, including the Vashonettes and James Brown.
All photographs are 8" x 10" black-and-whites, unless otherwise noted. The collection will be most useful to researchers looking for images of Bass. The Richard Smith Andridge Collection spans to and consists of a black-and-white photograph and a magazine advertisement for The Seeds. The collection provides visual evidence of The Seeds and how they were promoted.
Seen in the broader context, the collection provides insights into southern California garage bands and the advertising used by smaller record labels. The James Bernard Papers span the years to and include undated material.
The collection consists of audiovisual material, magazines, and papers, including correspondence, clippings, financial documents, and other materials related to The Source magazine, promotional materials from the National Hip Hop Political Convention, interview transcripts, press kits from various magazines, and other miscellaneous items.
Notable items in the correspondence include letters from readers of The Source , with both critical and supportive messages to the magazine; invitations for Bernard to speak at various functions; a letter from Carol Moseley Braun regarding an appearance before Congress to discuss rap lyrics Bernard's remarks accompany the letter ; a faxed letter from Bernard to David Mays, demanding Mays' resignation as publisher of The Source ; and a letter from Bernard and Reginald Dennis to Mumia Abu-Jamal, negotiating terms for an article to be written for XXL.
The financial documents include auditor's reports, consolidated financial statements, and supplementary information.
Audiovisual materials in the collection include VHS videocassettes, two CD-Rs, and audiocassette recordings of interviews. The magazines include single issues of non-music magazines related to African American culture. The James Bernard Papers will be useful to researchers interested in rap and hip hop music in the s and early s.
The collection should not be interpreted as an exhaustive business history of The Source. The Bitter End Records span the years to , with the bulk of the records dating between and The collection provides insight into the management of The Bitter End nightclub, located in the Greenwich Village neighborhood of New York. It does not, however, represent an exhaustive documentation of the business or financial operations of the nightclub.
Of most use to researchers will be the artist files, which provide a record of engagements played by numerous high profile artists and entertainers--many of which began their careers at The Bitter End.
The artist files include contracts, photographs, clippings, press releases, press kits, and other promotional items. The collection also contains artist contracts, clippings, photographs, press releases, and information about The Bitter End's near-closure in The Bitter End Records also include a sizeable collection of posters advertising performances played at the venue.
The Martha Radosevich Posters span the years to and include undated material. The collection consists of 32 concert posters for various performers, bands, and venues in the Southern California area. The collection provides a sampling of the kinds of concert posters that would have been posted around the Southern California area in the early- to mids.
Seen in a broader context, the collection provides insight to how performers and venues promoted their shows in the earlys and the acts that were performing during that period. The Anastasia Pantsios Collection spans the years to The collection consists of photographs and radio station playlists. The photographs provide visual evidence of performers who have appeared in Cleveland, Ohio over the course of nearly two decades, on and off stage.
Comparatively, the playlists represent what was being played on the radio in Cleveland during that same time. Seen in a broader context, the collection provides documentation of performers who have appeared in Cleveland over the years, as well as their public persona and dress. The collection also provides insight into the performers who allowed themselves and their performances to be photographed by female rock photographers, as women were finally gaining a foothold in the ranks, led by Rolling Stone's Annie Leibovitz.
As women became more numerous and prominent on rock and roll stages in the s and beyond, Pantsios developed a special interest in the visual study of the changing and diverse ways rock musicians presented themselves while making music. These original illustrations appeared in The Plain Dealer prior to the induction ceremony, and glossy and matte prints were made available for purchase by the newspaper. The collection is made up of the original paintings by Crow, as well as glossy prints of the paintings.
The collection provides a look at the artwork of Ted Crow and the artists and performers who were inducted into the Rock and Roll Hall of Fame in Seen in a broader context, the collection provides insight into the graphic art of the period and the ways in which newspapers were attempting to find new revenue streams.
The collection also includes the film's press kit, promotional materials, and copies of the DVD. The film chronicles the history of the rock concert poster, from its origins in s San Francisco to its re-emergence in the 21st century. American Artifact was released in and directed by Merle Becker.
The collection provides a look at the majority of the posters created for the film's release in , press materials, and the film itself. Seen in a broader context, the collection provides insight to fringe and underground artists of the past fifty years and how art is influenced by music, culture, and society, and how music, culture, and society, in return, influence art.
The John Seabury Flyers and Posters collection spans the years to The collection consists of 26 concert posters for various bands and venues, one poster for the Jean-Luc Godard film Sympathy for the Devil, and 19 concert flyers, mostly from shows at Slim's in San Francisco--all created by John Seabury.
The collection provides a sampling of Seabury's artistic work for various bands and concerts in the United States and Europe. Seen in a broader context, the collection highlights how mainstream and alternative rock bands and venues promoted their shows during the s to s and provides a reference point for the artists that played during that era.
The Jason Andrew Goad Collection spans the years to and includes undated material. The collection consists of 14 concert posters for various bands and venues created by Jason Andrew Goad, and five concert posters Goad created with Jeff Wood of Drowning Creek Studio. Also included in the collection is some of the original art that Goad created in for The Offspring's Rise and Fall, Rage and Grace.
The collection provides a sampling of Goad's artistic work for various performers and rock concerts in the United States. Seen in a broader context, the collection provides insight into how rock and alternative rock bands and venues promoted their shows during the s and the bands that were actively performing during that era. The Curtis Mayfield Collection spans the years to The Collection consists of a typed manuscript for the posthumously-published book, Poetic License: In Poem and Song ; three negatives and ten original photographs from various stages of Mayfield's solo career and his time with The Impressions; three oversize photographic reproductions; a concert poster; and two concert programs.
The Collection provides a glimpse into the career of Curtis Mayfield through images, lyrics, and poetry. Elliot, copyright May 27, Paul, Minnesota on June 26, The show was set to last from 12 noon until P. The collection provides a look at Elliot's work and a part of the promotion for the Open Air Celebration. Seen in a broader context, the collection provides insight to the promotion of festivals in America's Midwest during the late s and early s, and the artists that performed at these types of festivals.
This particular issue is volume 50, number 60 from December 3, The collection provides a look at Jim Morrison during his time at Florida State and gives the researcher insight into other happenings at the school in December Seen in a broader context, the collection provides insight into southern college newspapers during the early s, the types of articles they were running, and the advertising they were accepting.
The photo was subsequently published in Rolling Stone. The Ed Chalpin Papers span the years to , with the bulk of the materials dating between and The collection consists of business records, clippings, correspondence, photographs, and sound recordings. Also included is material related to the dispute between Chalpin former producer of Jimi Hendrix prior to the Jimi Hendrix Experience years and various parties over Hendrix's "exclusive artist productions writing contract" from October through October Of particular note are an acetate pressing of six tracks featuring Jimi Hendrix and Curtis Knight and several photographs of Hendrix during his time with The Squires.
The collection consists of 91 concert posters for various bands, primarily at venues and shows in Cleveland, Ohio; all designed and created by Sean Carroll,. The collection provides a sampling of Carroll's artistic work for various concert venues and performers. Seen in a broader context, the collection provides insight to how rock bands of varying popularity and diverse venues promoted their shows in the early s. The collection also acts as a reference point for bands that played during that era.
The collection consists mainly of correspondence, flyers, radio show playlists, stickers, zines, and other miscellaneous materials related to the Riot Grrrl movement. The collection provides a unique look into the Riot Grrrl movement from the inside--from the perspectives of the performers and record labels to the fans and critics.
The Gabor Kovats Negatives collection consists of images of live concert performances from to in the Austin and Dallas, Texas areas. The images were taken by Gabor Kovats, a member of the camera club at his high school, during his late teens and early 20s. The collection highlights a strong cross section of performers, musical genres, and concert venues that were popular during the s. ARC Dr. Rosario Cambria Collection, , 0.
The intellectual content of the Rosario Cambria Collection spans the year The collection consists of 48 black-and-white photographic reproductions, printed in , of candid shots from what appears to be at least two different events held at the Brooklyn Paramount Theater in New York: Alan Freed's Easter Jubilee from April and his Summer Festival from July.
The collection provides visual evidence of the groundbreaking mixed race concerts Freed hosted in the s. The Len DeLessio Photographs consist of 21 images of various rock musicians from the s. The collection provides visual evidence of the diversity of rock music that was being performed during the s and the musicians who were performing it.
As a whole, the collection highlights the career of one of the first racially integrated rock and roll bands and a hit group on Cleveland's airwaves during the lates to early s. The Eric Caidin Collectin of Photographs span the years of the s to and include undated material.
The collection consists of black-and-white as well as color photographs of artists, mostly promotional in nature. The collection provides visual evidence of how record labels marketed artists over the course of six decades and across a diverse range of musical genres, from country to psychedelic rock; pop to punk.
Of particular note is an image of Cannibal and The Headhunters, known as one of the first Mexican-American groups to have a national hit record, "Land of a Thousand Dances. Newsletter Terry Stewart Collection , , 0. The T. Newsletter was the first of its kind published in the music industry, describing the weekly events at WERE-AM, Cleveland, Ohio, including what artists had been at the station and which records looked promising.
The newsletter was distributed to over two hundred agency men, music publishers, columnists, and disc jockeys from coast to coast. The Peter Hujar Photographs consist of 11 vintage gelatin silver prints by the artist that are part of a portrait series for Scenes Magazine in called "Rock Couples.
The Gary Owens Papers span the years to and include undated material. The papers contain photographs of Owens, a handwritten biography, a membership card, and ephemera from radio stations. Owen's papers provide evidence of his career as a radio disc jockey and highlight the importance and role of disc jockeys in the music industry. The Tom Donahue Papers span the years to and contain some undated material. The collection consists of business papers, correspondence, interview transcripts, photographs, and printed materials documenting Donahue's career as a popular radio station disc jockey.
Of particular note is information about the Wild West Festival and film, a San Francisco Bay Area high profile music festival that was cancelled a week before it was scheduled to begin; a John Lennon interview transcript; and a dissertation written by Susan Krieger on the history of underground radio.
Donahue's papers provide rich documentation of the importance and role of radio disc jockeys in the development and dissemination of rock and roll music and culture. Influencing such notable bands as Green Day, the majority of the Fat Wreck Chords cast, Sublime, and eventually turning into Rancid, the band of 4 energetic punk ska-core to be specific got their name from a series of American operated nuclear tests conducted on the Marshall Islands in the northern Pacific Ocean in Here it is.
They also created some pretty bad-ass music. Give me a break. I guess after 37 years the brushes may need to be changed out. Surprisingly, the damn thing still turns on! I basically keep it around as a conversation piece, but sadly, those conversations are quite short much like this post. Labeled as Space Age Pop, Jean-Jacques Perrey and Gershon Kingsley cut and paste an album containing, what they imagined the music of their future our past had to offer.
It sometimes takes one a bit of time to dig back through the pages of music history to find historic references to modern pop culture well, as modern as at least.
End of side 1. Now, back to the album at hand and in ear… sorry about that. It would have to combine the Chicken with Square or Ballroom Dancing , but, you know, served with like 12 pots of coffee. Sure, there have been a few advancements in humanity over the past 46 years, but there has also been some MUCH needed social growth that has fallen way too short.
The Way Out Dance tops that list. Some people, I imagine, never feel that mood strike. Others are amazed when they discover a year-old connection between their favorite band and an album they never knew existed, purchase said album, then are extremely disappointed when they giddily give it a spin.
I fault high expectations. Perhaps, you will too. Lovingly edited by Jillian Kenney. Reluctantly edited by Jason Hardwick. Before Return of the Jedi. Before the Challenger exploded. Before The Clash broke up. Before the Dust Brothers and the Chemical Brothers. Before Cheers closed. Before Ad-Rock…. Listen here. Vocalist Dennis Keller kicks in with his chain-smoked-laden-raspy-gnarls-of-enthusiasm as the rest of this hipped out mob feverishly see what I did there?
This album is beginning to show signs of being really far out, brother! Sitting in my office smothered by the year and all that has preceded it, I imagine a parallel between listening to this album now, and a Texas band in singing about long legs in the San Francisco bay.
No one ever sang a song about the pretty girls in Camden, NJ; at least not in , and certainly not on Universal City Records. This album jams, man! Prime rhythms with snake-like guitar solos accompanied by a sprinkle of organ for good measure, all under a forceful bed of scratchy lyrics. It would have fit in perfectly. Side 1 has its moments, and Man Who Paints the Pictures is its peak. I bet these guys got laid a lot. Look at those chops! So, there you go. No need to attend your Dendrology class today courtesy of The Prudent Groove.
Like a soothing blanket on a brisk fall evening, the Fever Tree provides uplifting lyrics and whimsical melodies on The Sun Also Rises. Put Another Nickel In Music! Program 1: Bach: Superjoy - Dr.
Eh, Marie! This set is mono. Record 1: Sympony No. On the cover, Milnes is billed as "America's Leading Baritone. Custom label see right. Emerson Jones. Special Collector's Edition. Let It Snow! DPM 1 - Listeners' Guild. Record 1: Also Sprach Zarathustra, Op. Fold-open cover. Blue Abkco label. This album is mono. Back of jacket notes, "A series of songs about National destinations and the National spirit of sunshine.
The song list below is from the first of three cartridges. If released on vinyl, this would be a 6-LP set. Custom grey label see right. Labels give title as It's Nice to Go Travelin'. Will I Be Seeing You. Prepared for The Smithsonian Institution. The jacket notes, "An archival reconstruction of the original production.
Air Force Museum Foundation. Record 1: Ragtime Annie - A. Part of this album is from the original Broadway run of the show "Whoopee.
Custom red label see right. Concerto for Flute Op. Includes page booklet. Jacket notes, "Lederle Laboratories, developer of Loxitane Loxapine Succinate , presents you with this album Madness in Opera Volume II as a service to psychiatrists in the interest of continuing education. Meet Me In St. Louis, Louis - Samuel H. Dudley aka S.
These versions are longer than the 45s. Buzzerd's Original Savannah Band. Record 1: Lord Mr. DVL 1 e - Kellogg's Presents Prepared for the U. Outstanding idea. This search program lets you sift through a great number listings quickly, filtered and sorted your way.
It provides enough information to decided to click through or not. Best of all it is an endless page, it just keeps adding listings as you go!! I was able to view literally 's so quickly. See More Testimonials. Colomby was impressed with Clayton-Thomas's vocal talent and he invited him to join the band. He jumped right out at you. I went with a small group of people, and we were electrified.
He seemed so genuine, so in command of the lyric I knew he would be a strong, strong figure. The constant touring began to take its toll. Clayton-Thomas left the band in , exhausted by life on the road. By the mid '70s, the founding members began to drift away to start families and pursue their own musical ambitions.
They are noted for their combination of brass and rock band instrumentation. They also incorporated music from Thelonious Monk and Sergei Prokofiev into their arrangements. He also produced a number of one-off collaboration albums, such as the Super Session album that brought together guitarists Mike Bloomfield and Stephen Stills.
In the s he was a successful manager and producer, notably recording Lynyrd Skynyrd's first three albums.Cowboy Film (Album Version) - TAZ - Cowboy Film; No Falta Mucho - Los Beatles* - Con Los Beatles; Now That We Found Love - Hot Mix Productions - Hot Mix Show #