Patti Smith Because the night, 1978 l'incroyable Paris

Patti Smith Because the night, 1978 l’incroyable Paris

En avril 1978, l’incroyable Patti Smith est de passage en France. Entre Paris et Lyon, elle accepte d’être filmée avec ses musiciens au cours d’une répétition pour deux titres “Because the night” et “25th Floor”. Du 17 au 20 janvier 2011, la chanteuse Patti Smith est à la Cité de la Musique de Paris pour un cycle « Domaine Privé ». Au programme : documentaire, lectures, concerts… Pour ceux qui n’iront pas à la Cité de la musique mais aussi pour ceux qui y sont, et qui y étaient, comme un moment hors du temps, découvrez un extrait de cette répétition. 

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Patti Smith in rehearsal in 1978. En avril 1978, l'incroyable Patti Smith est de passage en France. In April 1978, the incredible Patti Smith is visiting France. Entre Paris et Lyon, elle accepte d'être filmée avec ses musiciens au cours d'une répétition pour deux titres “Because the night” et “25th Floor”. Between Paris and Lyon, she agrees to be filmed with his musicians during a rehearsal for two titles "Because the Night" and "25th Floor."

Du 17 au 20 janvier 2011, la chanteuse Patti Smith est à la Cité de la Musique de Paris pour un cycle « Domaine Privé ». From 17 to 20 January 2011, singer Patti Smith at the Cité de la Musique in Paris for a series "Private Domain". Au programme : documentaire, lectures, concerts… Pour ceux qui n'iront pas à la Cité de la musique mais aussi pour ceux qui y sont, et qui y étaient, comme un moment hors du temps, découvrez un extrait de cette répétition.

Program: Documentary, readings, concerts ... For those who will not go to the city of music but also for those who are, and who were, as a timeless moment, discover a part of this repetition.

Patti Smith Because the night, 1978 l'incroyable Paris Patti Smith Because the night, 1978 l’incroyable Paris En avril 1978, l’incroyable Patti Smith est de passage en France. Entre Paris et Lyon, elle accepte d’être filmée avec ses musiciens au cours d’une répétition pour deux titres “Because the n ...... Read MORE » on Dogmeat

Jimi Hendrix Beefheart Bowie (Pop deux)

Ultime

Jimi Hendrix Beefheart Bowie

(Pop deux) 

It all started with a carton at an auction... In 2007, a collector of rock memorabilia bought a carton of vintage records, posters, concert ephemera, and an old film reel at an auction in Europe. When he got home, he examined the contents and saw the 8mm film labeled Black Man. He borrowed a projector and discovered the unbelievable truth: The man was Jimi Hendrix. After authenticating the image as best he could, the collector found Vivid, and a vast investigation was launched. A group of Hendrix experts and historians directed Vivid to two girls who knew the artist intimately:

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Beefheart Bowie Hendrix Pop deux

  

 

Patrice BLANC FRANCARD présente l'émission devant un manège de voiturettes. - Extrait du concert de David BOWIE

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donné sur la scène de l'Imperial College à Londres: il interprète "Suffragette City" (Film ? Droits ?). - En extérieur, Patrice BLANC FRANCARD donne les actualités pop. Diverses manchettes de journaux anglais et américains. - Reportage qui nous permet de retrouver Catherine RIBEIRO et le groupe ALPES au cours d'une répétition dans la cour d'une ferme en province à Robertval . ALPES se compose de Patrice MOULLET à la guitare, Patrice LEMOINE à l'orgue et Sébastien LEMOINE à la basse. Assis dans l'herbe, ces derniers et Catherine RIBEIRO sont interviewés par Patrice BLANC FRANCARD. L'entretien est entrecoupé de plans de Catherine RIBEIRO chantant.< Un Opéra rock> : Très gros plan du chanteur - Interview de Carle BLEY et Mike MANTLER. - Marc ZERMATI évoque les traductions de Jimi HENDRIX. Photos et chansons de l'artiste sur plans d'enfants faisant du manège.

 

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Cynthia Plaster Caster, who personally cast Jimi's penis in plaster, and Pamela Des Barres, the world famous super-groupie. No doubt about it, said Cynthia, adding That's his dick and I should know. Pamela concurred, commenting This footage proves Hendrix was fabulous in bed and really pleased his partner. Shot 40 years ago and verified authentic by a panel of experts

 

 

 

JIMI HENDRIX: THE SEX TAPE is a historical archive of monumental importance to both the adult and rock worlds.

Jamie Hendrix 

 

Ultime Jimi Hendrix Beefheart Bowie (Pop deux)  I t all started with a carton at an auction... In 2007, a collector of rock memorabilia bought a carton of vintage records, posters, concert ephemera, and an old film reel at an auction in Europe. When he got home, he examined the contents and saw the ...... Read MORE » on Dogmeat

House of hits - Founded in a working-class neighbourhood in southeast Houston in 1941

Founded in a working-class neighbourhood in southeast Houston in 1941, Gold Star/SugarHill Recording Studios is a major independent studio that has produced a multitude of influential hit records in an astonishingly diverse range of genres. Its roster of recorded musicians includes Lightnin' Hopkins, George Jones, Willie Nelson, Bobby "Blue" Bland, Junior Parker, Clifton Chenier, Sir Douglas Quintet, 13th Floor Elevators, Freddy Fender, Kinky Friedman, Ray Benson, Guy Clark, Lucinda Williams, Beyonceacute; and Destiny's Child, and many, many more. In House of Hits, Andy Bradley and Roger Wood chronicle the fascinating history of Gold Star/SugarHill, telling a story that effectively covers the post-war popular music industry. They describe how Houston's lack of zoning ordinances allowed founder Bill Quinn's house studio to grow into a large studio complex, just as SugarHill's willingness to transcend musical boundaries transformed it into of one of the most storied recording enterprises in America. The authors offer behind-the-scenes accounts of numerous hit recordings, spiced with anecdotes from studio insiders and musicians who recorded at SugarHill. Bradley and Wood also place significant emphasis on the role of technology in shaping the music And The evolution of the music business. They include in-depth biographies of regional stars and analysis of the various styles of music they represent, As well as a list of all of Gold Star/SugarHill's recordings that made the Billboard charts and extensive selected historical discographies of the studio's recordings.

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Founded in a working-class neighbourhood in southeast Houston in 1941, Gold Star/SugarHill Recording Studios is a major independent studio that has produced a multitude of influential hit records in an astonishingly diverse range of genres. Its roster of recorded musicians includes Lightnin' Hopkins ...... Read MORE » on Dogmeat

House of hits: Common terms and phrases ... Google Books

13th Floor Elevators ABC/Dot affiliation album Baby Back Beat band bass Bill Quinn Billboard Blues Bobby Bubble Puppy called CCLP charts control room country music Crazy Cajun Daily Daily’s Destiny’s Child different disc Don Robey Doug Duff early Eddie Noack engineer facility featured figure finished first first recorded five floor Freddy Fender Gavin Jazz George Jones Gold Star Records Gold Star Studios guitar guitarist Harry Choates hit records Holford Hometown Boys Hopkins Houston Huey International Artists Joe Hinton Johnny LaBeef later leased Lightnin Link Davis Love master Meaux Mercury musicians Nashville O’Gwynn off offered office Pappy performed played player produced radio record company record label recorded at Gold recording sessions recording studio released Robey Robey’s rock rockabilly Roy Head Sahm says single Sir Douglas Quintet song songwriter sound staff Strachwitz SugarHill Studios tape Tejano telephone Texas Tommy McLain tracks vocal

via books.google.com

13th Floor Elevators ABC/Dot affiliation album Baby Back Beat band bass Bill Quinn Billboard Blues Bobby Bubble Puppy called CCLP charts control room country music Crazy Cajun Daily Daily’s Destiny’s Child different disc Don Robey Doug Duff early Eddie Noack engineer facility featured figure finished first ...... Read MORE » on Dogmeat

Huey Meaux and Charlie Booth was a recording artist...

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Huey Meaux and Charlie Booth House of hits: the story of Houston - Google Books

Huey Meaux and Charlie Booth House of hits: the story of Houston

Huey Meaux and Charlie Booth House of hits: the story of Houston ...... Read MORE » on Dogmeat

B.J. Thomas, Huey P. Meaux, and Sceptre Records

• Artist: B.J. Thomas

After slogging it out on the Texas indie circuit during the first half of the 60s, B.J. Thomas hooked up with Huey P. Meaux and Sceptre Records in 1966. This was on the heels of Thomas releasing a full-length album with his supporting band the Triumphs, a record called I’m So Lonesome I Could Cry, and B.J. used the same title for his Sceptre debut, which makes sense as it’s the first single that brought him to the charts.

Thomas’ version of Hank Williams’ standard emphasized pop over country without completely pulling out the roots, a fairly good indication of the blend of roots musics on the LP. Under the guise of a pop singer, Thomas dabbles with country, blues, and soul, never quite committing fully to any of these sounds, but sounding fairly convincing in each.

He’s a good enough mimic to replicate Tom Jones’ swagger on “It’s Not Unusual,” he pounds out a good “In the Midnight Hour,” lays back easy on the country slow dance “The Titles Tell,” and he’s unashamed to lay on the corn on “Bring Back the Time” and “Mama,” a quality that would serve him well later. If the record winds up seeming scattershot, a collection of different sounds in search of a hit, that’s because it is: Thomas was game to try anything that could perhaps reach the charts, and no one style fit him better than the next. As such, I’m So Lonesome I Could Cry winds up playing a bit as a mid-‘60s sampler, which makes it an enjoyable period piece as well as a fairly promising debut.

Like its predecessor, B.J. Thomas' second album, Tomorrow Never Comes, is characterized by its soulful dabbling. Thomas doesn’t have one style, he has many, rooted in country and soul, sometimes touching on the blues, often wrapping this all up in a punch pop confection.

This rootless roots music is diverse, but it doesn’t necessarily play as versatility, perhaps because Thomas is almost too adept in adapting to his surroundings, not pushing through his personality but rather going with the flow.

This isn’t necessarily a problem, particularly on Tomorrow Never Comes, which has an easy touch Thomas would later leave behind, but it does leave him at the mercy of his songs, many written and/or arranged by his Triumphs bandmate Mark Clarron, which alternate between the solid and saccharine here. Thomas may have a flair for the kitsch but not even he can save Clarron’s rewrite of his cornball “Mama” as “Daddy” -- nor does he seem truly invested in the weird tale of the suicidal “Plain Jane” -- so the album winds up being on much firmer ground on the stomping “Gonna Send You Back to Georgia,” the shimmering of “Baby Cried,” the mini-melodrama of “Walkin’ Back” and the lively “Mystery of Tomorrow.” Perhaps these aren’t forgotten gems, or cuts that should have been hits, but they’re solid ‘60s AM pop songs that remain enjoyable even if they're not quite distinctive.

~ Stephen Thomas Erlewine

Credits

Steve Cropper (Composer), Carole King (Composer), Wilson Pickett (Composer), Gerry Goffin (Composer), Ernest Tubb (Composer), Johnny Bond (Composer), Huey P. Meaux (Composer), Huey P. Meaux (Producer), Huey P. Meaux (Personal Manager), Gordon Mills (Composer), Glen Spreen (Arranger), Charles Underwood (Composer), Hank Williams (Composer), Jim Pierson (Reissue Producer), Mike Ragogna (Liner Notes), Burt Goldblatt (Design), Burt Goldblatt (Cover Photo), Les Reed (Composer), Mark Charron (Arranger), Mark Charron (Composer), Johnnie Mae Matthews (Composer), Charlie Booth (Producer), Charlie Booth (Personal Manager), Gordon Anderson (Executive Producer), D. Jones (Engineer), Ted Carfrae (Remixing), Mike Gross (Liner Notes), O. Perry (Engineer), Leo O'Neil (Arranger), Leo O'Neil (Engineer), Jake Hammond Jr. (Composer), Geoffrey Hobson (Engineer), Gaylon Shelby (Engineer), Robert Thibodeux (Composer)