The News Review:
- La Voz Weekly – Events
- Music for the masses
- Can’t trust that day: Songs for melancholy Monday
- Various Artists – ‘Lost and Found – Rockabilly And Jump Blues’…
- Sound and Sight
- Popularity reaches a new Lowe
La Voz Weekly – Events
La Voz Weekly – Sep 24, 2007
Tuesday September 25 11:30am-1:00pmJ. Smith and the Disciples will perform upbeat blues music sponsored by the Inter Club Council. Wednesday September 26 11:30am-1:15pmSponsored by the Student Activities office “Dua Maxa with Marci Valdivieso” will perform music inspired by South America and the world. Thursday September 27 11:30am-1:15pmThe student Activities office is sponsoring “Fiddler’s Fancy with Cat Taylor” performing Welsh Irish Eastern European and Renaissance music. All entertainment is sponsored by the De Anza Associated Student Body and will be held at the patio near the new dinning hall.
Music for the masses
Malaysia Star – Sep 24, 2007
Naturally there’s great emphasis on the Rhoads and Wylde years perhaps sbourne’s two most successful periods and it’s illuminating to hear how the former Black Sabbath frontman’s songs have evolved despite sticking to the rock and heavy metal genre. As expected the anthemic Crazy Train Suicide Solution Flying High Again No More Tears and the lot are all here but the most serious fans may notice the omission of his duet with Lita Ford in the late 1980s. Remember Close My Eyes Forever? Fleetwood Mac Rumours may have etched Fleetwood Mac a permanent position in the annals of popular music but well before that the band was a purebred blues outfit in the fertile British blues landscape of the late 1960s dishing out incendiary blues riffs courtesy of Peter Green Jeremy Spencer and Danny Kirwan. Sony’s Gold Collection from before may have done a decent enough job to represent the band with a single CD but this expanded two-disc 36-song package provides that and so much more. Not surprisingly the band’s classic debut is almost represented here in its entirety but classics like Black Magic Woman Albatross and Dust My Broom are also in place. This is a sterling document of Fleetwood Mac’s early blues inclinations.
Can’t trust that day: Songs for melancholy Monday
Seattle Times – Sep 24, 2007
Did somebody fast forward time during the weekend? Because it seems like it ought to be Sunday right now. Yet here we are five long days before the next reprieve from our weekly toils. Yes Mondays can be downright depressing but fortunately we have music to help us through them. While you’re lamenting about how you need just one more day to unwind play one of our Top 10 Monday songs:”I Don’t Like Mondays” (Boomtown Rats): n Jan. 29 1978 16-year-old Brenda Ann Spencer started shooting at an elementary-school located across from her San Diego home wounding eight students and killing a custodian and the school principal. When asked why she did it Spencer replied “I don’t like Mondays. ” Then she added “This livens up the day… The group Fifth Dimension passed on recording it — their loss. The Carpenters made it a huge hit. “Call it a Stormy Monday” (T-Bone Walker): This blues standard covered by dozens of artists through the years is considered a breakthrough song for electric guitar. King said it inspired him to pick up the instrument.
Various Artists – ‘Lost and Found – Rockabilly And Jump Blues’…
Gigwise – Sep 24, 2007
The result was the original incarnation of rock ‘n’ roll – rockabilly. In the rigidly segregated climate (musical and otherwise) of the time the best white musicians had been able to offer to compete with the hip-shaking grooves and attitude-laden thrills cooked up by their black rhythm ‘n’ blues counterparts was country music which – although beguilingly otherworldy at its mournful best – was pretty tightly beholden to conservative values wailing pedal steels and the Good Book. Rockabilly changed all that as these 37 rarities compiled by veteran cratediggers Keb Darge and Cut Chemist (or Jurassic 5 fame) attest. Freed from all inhabitions this is the sizzling sound of moonshine-crazed white trash on a rampage revving up their newfound rebellion on a flab-free diet of razorsharp guitar licks mercilessly slapped double bass elemental beats and a fresh vocal style situated halfway between an Appalachian yodel and the don’t-ya-mess-with-me drawl of hippest blues cats ala Muddy Waters and Howlin’ Wolf. The passing of years and overexposure via family-orientated retreads of the original formula may have diluted the most explosive potency of 50′s rock ‘n’ roll. Back in the day however this racket whipped elders previously exposed to nothing friskier than sedate crooning into a bona fide moral panic fired up by a conviction that the quivering quiffs of the new singing stars sowed the seed for unpure thoughts amongst the young ‘uns signalling the imminent end of the straight-laced civilization.
Sound and Sight
Waco Tribune-Herald – Waco Tribune Herald – Sep 24, 2007
Funeral service arrangements are pending at Dorsey-Keatts Funeral Home. Spratt started playing guitar in the 1950s and was active in rhythm-and-blues in Waco nightclubs such as Castle Rock Red Carpet and the Nite Life playing bass in the latter’s house band led by Classie Ballou. Spratt formed and led such bands as the Sheiks the Soul Sebastians Galaxy New Breed Blues Impact and Sprattattack performing gigs across Central Texas for more than 20 years. Several Waco bandleaders played in Spratt’s bands over the years including saxophonist Richard Thomas and rhythm-and-blues vocalist; guitarist Joseph “Lefty” Richard lead guitarist for the Sonny Mac Blues Band; and guitarist Jobie McCarthy the Sonny Mac of the Sonny Mac Blues Band.
Popularity reaches a new Lowe
Toronto Star – Sep 24, 2007
disposable rubbish. It’s not like jazz or blues or till recently country music where age gives you gravitas. "His career in ruins his marriage – to Carlene Carter stepdaughter of Johnny Cash and daughter of June Carter Cash – evaporated his liver and brain cells awash in alcohol Lowe somehow managed to gather the strength and purpose to clean up his act and find a new path a kind of salvation in his post-pop dotage. "It would take time I knew that. And I set about it quietly almost anonymously as the dregs of my pop career wound down. I set about trying to use age as part of my arsenal not to deny it or make excuses for it.