English, Hardback, 16x24 cm, 224 pages - Complete and detailed session-by-session coverage of their entire recorded work from 1961 to 1995. Each session contains full details of titles and matrix numbers, release numbers, backing musicians (where known), producer/s and composers. All dates, times and locations (where known). In addition to this session information there is - an index of releases, album notes, chart history, television shows and much more. Composer index, musician and general artist index, song title index and bibliography.
English, Hardback/Leineneinband, 16x23.5 cm, 156 pages/Seiten, few b/w photographs - This book captures the essence of the brother´s world while never straying far from an examination of the music itself. In addition to an enlightening discussion of the Louvin´s music, the book discuss the human elements wich accompanied the creation of the records. It´s a roadmap for the harmonic soul of Ira and Charlie, and an engaging companion piece to the great songs of the Louvin Bros.
The Happy Goodman video includes interviews with Howard and Vestal Goodman plus comments from the wives and children of Rusty and Sam Goodman.(80 min.) The Blackwood Brothers video contains one of the last interviews with James Blackwood, completed just prior to his death. Interviews with Cecil, Ron, Jimmy, Billy and other family members and friends are inc.
Gebundene Ausgabe - Parragon Plus- 78 Seiten - Englisch Quiet Beginnings Charles Hardin Holley was born on 7 September, 1936, in Lubbock, Texas. (The more familiar ´Holly´ spelling is the result of a mistake on Buddy´s first recording contract.) He was the youngest of Lawrence and Ella Hol-ley´s four children, and was raised like the rest of the family as a Fundamen-talist Baptist, in the strict moral atmo-sphere of the Bible belt of south-west America. His father had moved to in search of work in the thriving cotton industry of the area, and although Texas was not especially known for its musical heritage, his family made music a part of their lives. From the singing which was an important part of their church life, to the music which they played and sang at home, Buddy, as he was called from an early age, was sur-rounded by its influence. He won a five-dollar prize at the age of 5, with a rendition of Down The River Of Mem-ories, accompanying himself on a toy violin. He was keen to follow his brothers and sister by mastering an instrument, trying the piano and the steel guitar before finding an affinity with the acoustic guitar, listening to the radio and picking up the tunes of ...
(Aurum Press) Paperback, 13,3 x 20,3 x 2,5 cm, english, 432 page, 16 page color and b/w illustrations. In August 1964 The Kinks released their third single. After a little noticed debut and a follow-up that had failed to chart at all, Pye Records were threatening to annul the group’s contract. But with its unforgettable distorted guitar riff, ´´You Really Got Me” went on to reach No.1, entering the US Top Ten later the same year. Followed by a string of hits, it marked the breakthrough of one of Britain’s most innovative and influential bands, and a turning point in the fortunes of two brothers whose troubled story is as tumultuous and characterful as the music they produced: Ray and Dave Davies. Born into a deeply musical working-class family in London’s Muswell Hill, Ray and Dave grew up in a city recovering from the bombs and privations of the Second World War, and, more than any other musicians of the Sixties, they crafted the soundtrack that made it swing again. In songs such as ´´Dedicated Follower of Fashion”, ´´Sunny Afternoon” – which toppled The Beatles to become the hit of Summer 1966 – ´´Waterloo Sunset”, ´´Days” and ´´Lola”, they drew on music hall, folk and rhythm and blues to craft a peculiarly English pop idiom, inspiring generations of songwriters from David Bowie to Jarvis Cocker and Damon Albarn. Pocked by sibling rivalry, furious on-stage violence, walkouts, overdoses, a career-throttling ban from the US, gross self-indulgence, and the band´s curious rebirth as Eighties stadium rockers, the story laid bare in God Save The Kinks is one of the greatest in British pop history.
A book on how artists work, how they ritualize their days with the comforting (mundane) details of their lives: their daily routines, fears, dreams, naps, eating habits, and other prescribed, finely calibrated ´´subtle maneuvers.O Franz Kafka, frustrated with his living quarters and day job, wrote in a letter to Felice Bauer in 1912, ´´time is short, my strength is limited, the office is a horror, the apartment is noisy, and if a pleasant, straightforward life is not possible then one must try to wriggle through by subtle maneuvers.´´ Kafka is one of 161 inspired-and inspiring-minds, among them, novelists, poets, playwrights, painters, philosophers, scientists, and mathematicians, who describe how they subtly maneuver the many (self-inflicted) obstacles and (self-imposed) daily rituals to get done the work they love to do, whether by waking early or staying up late; whether by self-medicating with doughnuts or bathing, drinking vast quantities of coffee, or taking long daily walks. Thomas Wolfe wrote standing up in the kitchen, the top of the refrigerator as his desk, dreamily fondling his ´´male configurations´´. . . Jean-Paul Sartre chewed on Corydrane tablets (a mix of amphetamine and aspirin), ingesting ten times the recommended dose each day . . . Descartes liked to linger in bed, his mind wandering in sleep through woods, gardens, and enchanted palaces where he experienced ´´every pleasure imaginable.´´ Here are: Anthony Trollope, who demanded of himself that each morning he write three thousand words (250 words every fifteen minutes for three hours) before going off to his job at the postal service, which he kept for thirty-three years during the writing of more than two dozen books . . . Karl Marx . . . Woody Allen . . . Agatha Christie . . . George Balanchine, who did most of his work while ironing . . . Leo Tolstoy . . . Charles Dickens . . . Pablo Picasso . . . George Gershwin, who, said his brother Ira, worked for twelve hours a day from late morning to midnight, composing at the piano in pajamas, bathrobe, and slippers . . . Here also are the daily rituals of Charles Darwin, Andy Warhol, John Updike, Twyla Tharp, Benjamin Franklin, William Faulkner, Jane Austen, Anne Rice, and Igor Stravinsky (he was never able to compose unless he was sure no one could hear him and, when blocked, stood on his head to ´´clear the brain´´).
I am down to a pencil, a pen, and a bottle of ink. I hope one day to eliminate the pencil. Al Hirschfeld redefined caricature and exemplified Broadway and Hollywood, enchanting generations with his mastery of line. His art appeared in every major publication during nine decades of the twentieth and twenty-first centuries, as well as on numerous book, record, and program covers; film posters and publicity art; and on fifteen U.S. postage stamps. Now, The Hirschfeld Century brings together for the first time the artist´s extraordinary eighty-two-year career, revealed in more than 360 of his iconic black-and-white and color drawings, illustrations, and photographs-his influences, his techniques, his evolution from his earliest works to his last drawings, and with a biographical text by David Leopold, Hirschfeld authority, who, as archivist to the artist, worked side by side with him and has spent more than twenty years documenting the artist´s extraordinary output. Here is Hirschfeld at age seventeen, working in the publicity department at Goldwyn Pictures (1920-1921), rising from errand boy to artist; his year at Universal (1921); and, beginning at age eighteen, art director at Selznick Pictures, headed by Louis Selznick (father of David O.) in New York. We see Hirschfeld, at age twenty-one, being influenced by the stylized drawings of Miguel Covarrubias, newly arrived from Mexico (they shared a studio on West Forty-Second Street), whose caricatures appeared in many of the most influential magazines, among them Vanity Fair. We see, as well, how Hirschfeld´s friendship with John Held Jr. (Held´s drawings literally created the look of the Jazz Age) was just as central as Covarrubias to the young artist´s development, how Held´s thin line affected Hirschfeld´s early caricatures. Here is the Hirschfeld century, from his early doodles on the backs of theater programs in 1926 that led to his work for the drama editors of the New York Herald Tribune (an association that lasted twenty years) to his receiving a telegram from The New York Times, in 1928, asking for a two-column drawing of Sir Harry Lauder, a Scottish vaudeville singing sensation making one of his (many) farewell tours, an assignment that began a collaboration with the Times that lasted seventy-five years, to Hirschfeld´s theater caricatures, by age twenty-five, a drawing appearing every week in one of four different New York newspapers. Here, through Hirschfeld´s pen, are Ethel Merman, Benny Goodman, Judy Garland, Mickey Rooney, Katharine Hepburn, the Marx Brothers, Barbra Streisand, Elia Kazan, Mick Jagger, Ella Fitzgerald, Laurence Olivier, Martha Graham, et al. . . . Among the productions featured: Fiddler on the Roof, West Side Story, Rent, Guys and Dolls, The Wizard of Oz (Hirschfeld drew five posters for the original release), Gone with the Wind, The Sopranos, and more. Here as well are his brilliant portraits of writers, politicians, and the like, among them Ernest Hemingway (a pal from 1920s Paris), Tom Wolfe, Charles de Gaulle, Nelson Mandela, Joseph Stalin, Winston Churchill, and every president from Franklin D. Roosevelt to Bill Clinton. Sumptuous and ambitious, a book that gives us, through images and text, a Hirschfeld portrait of an artist and his age.