Hendrix cont

Afterwards the capacity crowd assembled in the venue’s state-of-the-art JBL Theater to watch the feature film Jimi Hendrix: Live At Woodstock. The new and expanded feature film stands as the definitive record of one of Jimi's most celebrated performances and is presented uninterrupted and in its original performance sequence for the first time. The expanded film includes never-before-seen versions of "Foxey Lady," "Message To Love," "Hey Joe," "Spanish Castle Magic," and "Lover Man," and an all-new 5.1 stereo soundtrack mixed by Eddie Kramer, Jimi's original studio engineer. Kramer, who was responsible for recording the original Woodstock concert in August 1969 and remixed this expanded film’s soundtrack, provided audience members with an exclusive opportunity to see him at work as he sat at a specially installed mixing board in the center of the theater to handle the audio controls for the evening’s presentation.Experience Hendrix teamed with Warner Bros. to restore all of the existing film footage from Hendrix's legendary Woodstock performance. The resulting film features more than 45 minutes of new footage, which was entirely re-edited by Jere Huggins, one of the original editors of the 1970 Academy Award winning Woodstock documentary. Huggins worked extensively with Experience Hendrix's Janie Hendrix and John McDermott, as well as noted Warner Bros. film restoration specialist Bill Rush to incorporate a variety of previously unseen camera angles and coverage. Rush has been involved in the careful, critically acclaimed restoration of many classic films, including Public Enemy, Casablanca, and Out Of The Past. The result is a frame-by-frame digital restoration that presents Hendrix in vibrant color and detail.
Being able to experience Hendrix’s original Woodstock performance in such a technically sound environment proved extremely enjoyable for everyone in attendance. The digitally remastered film on the theater’s big screen combined with the all-new 5.1 surround sound mix draws the audience right into the middle of this historic concert. Visually, you’re left in awe as you witness Hendrix lead his newly expanded ensemble Gypsy Sun & Rainbows tear through a lively set list, but combined with the newly mixed 5.1 surround sound audio presentation, you feel like you’ve been transported back to August 1969 and are sitting in the field amidst the thousands of other fans watching the show. With the music attacking your sense from upfront and the throngs of cheering fans surrounding you, you can’t help but being left a little breathless after this unique experience.

Hendrix

Seattle’s Experience Music Project, in association with Experience Hendrix, hosted the world premiere screening of the newly expanded Jimi Hendrix: Live At Woodstock on September 14, 2005. This special ticketed event, which was open to the general public and members of the Experience Music Project, was a complete sell-out with more than 190 enthusiastic fans in attendance and featured special appearances by legendary Experience and Band Of Gypsys’ bassist Billy Cox and Jimi Hendrix’s original studio engineer Eddie Kramer.The evening’s event included pre-screening gatherings in the Liquid Lounge plus a VIP meet-and-greet with Cox and Kramer in the museum’s exclusive Blue Lounge.

Portland

This list includes Portland area music that has less old-time country (folk?) content but is closely allied. We list bluegrass bands that feature the older "traditional" sound, blues with a more country blues orientation, and other music that maintains a traditional and older quality. Acoustic counts big, although electrifangled is not ruled out.

anka...

5. Puppy Love (2:44) - Here's yet another slow, 12/8 song. The narrator and his sweetie are 17 years old. Because of their youth, other people think their relationship is neither serious nor likely to last. The narrator prays for a way to convince them otherwise.

What

What am I calling old-time music? When I use the term, I mean the traditional folk music of the Southern Appalachians. This music wa based on fiddle music of the British Isles mixed with the influences of black musicians, both slave and free. The fiddle came over from Europe with the emmigrants, the banjo came from Africa in primitive form and was refined and developed in the US cities starting before the Civil War. The Civil War spread the banjo and the minstrel tunes popular in that time into the remote Appalachian mountains, where they were adopted. The guitar came somewhat later, around the turn of the century.

CDs/Tapes

All of the CDs/Tapes you will find listed on this site were recorded live from old hand crank record players with the idea of reproducing the sounds of the "good old days" exactly as they sounded then. The only enhancements are the CDs/Tapes were recorded through a high quality condenser microphone to eliminate some of the noise and a compressor was used to keep the characteristic blaring from distorting on the master.

hippie

WHO ARE THESE hippies and what the hell do they want? It all happened so fast­suddenly young men were wearing long hair and growing beards, young women were dressing like peasants and wearing psychedelic colors, all of them seemed dirty, drugged, and disrespectful of their elders and society at large. They were dropping out of college, starting up rock bands, living in communes, and traveling to the far reaches of the planet. To many it was frightening, mystifying, and inexplicable. Luckily the publishing industry was ready to help explain the unexplainable, often with hilarious insights into a world they viewed from the outside. Shown are a number of books that purport to explain to a bewildered society just what was going on with this new phenomenon called the hippies.

Anka...

3. Lonely Boy (2:22) - My favorite of Paul's songs. This song is 12/8 also and slightly slower than the previous song. The narrator has all he could want as far as material goods, but he's dying for a special woman. He prays every night that such a woman will come to him. Good luck, pal; I hope your prayers are answered.
4. Time To Cry (2:28) - This song has the same tempo as "Put Your Head." The time for a guy to cry is when his girlfriend leaves him.

Terry Zwigoff

Terry Zwigoff did most all of that when I sat down with him in the kitchen of his Bernal Heights home in San Francisco in July of 1994. Zwigoff is well informed and holds strong opinions. He’s also funny. A film-maker and musician, he is also an inveterate collector, as a visit to his house makes apparent.
In the kitchen is an old GE monitor-top refrigerator (beautifully restored), a cabinet of obsolete soda pop bottles, and a cloth sack that once held Jug Band Flour, now framed and hanging over the kichen table. In the living room is an over-stuffed couch with matching armchairs, a vintage Mickey Mouse radio, and a stage-prop palm tree that reaches to the ceiling. Hanging nearby is an original oil painting by Enoch Bolles, one of the prime pin-up artists of the 1930s. The walls are decorated with ornate floral wallpaper from the 1920s, unchanged since the house was built. A central hallway is lined with old photos of obscure jazz bands, banjo players, and blues singers. A small office holds an antique display cabinet containing the world’s foremost collection of Valmor products- a line of novelties and cosmetics aimed at black consumers of the 1930s. The music room is dominated by a custom-built shelf containing row after row of 78 rpm records in green or tan sleeves. Vintage musical artifacts are everywhere- rare instruments, photographs, posters, figurines, catalogs and record sleeves. Terry’s girlfriend, Missy Axelrod, lives with him in this house where virtually everything predates World War II.

Anka

1. Diana (2:18) - The tempo is moderately fast. More often in a relationship, the guy is older. But in this case, the gal is the narrator's senior, probably by about 10 years. He doesn't care about the age gap or what people think; he asks her to stay beside him forever.

2. Put Your Head On My Shoulder (2:33) - This moderately slow, 12/8 song features chimes, a guitar, and a piano, but I mostly hear drums and vocals. Love may be a losing game, but the narrator is deeply enough in love with the girl not to care if he's a fool rushing in. He asks her to rest on his shoulder, whisper in his hear, and tell him she loves him. Just before the end, the song slows down temporarily, then resumes normal tempo.

Bachman...

Instead, Randy is excited to announce that he is taking a summer job as a DJ. That's right folks. Tune in this summer to hear Randy on CBC Radio as he hosts his show Vinyl Tap on Saturday nights from 7:00 - 9:00 starting July 2nd. Two hours of music and stories, as Randy plays his favourite songs and tells the stories from his life on the road and in the studio.

Randy bachman

From his days as a young boy hiding his transistor radio under his pillow so he could listen late into the night, to his years of tuning into the top 40, Randy has always had a love for radio. And to his good fortune, he became part of the soundtrack of radio stations with his hits over the years. So here we are, summer 2005 and do you think Randy would be planning to take it easy - put his feet up and maybe hang out on his dock at the lake, turn on the radio and chill? Nope.

Elvis

1957. Otis Blackwell is sitting in his office at Shalamar Music, desperately trying to come up with a follow-up to his composition "Don't Be Cruel". It wasn't going to be easy to match; recorded by Elvis, "Don't Be Cruel" had been #1 on the charts for eleven weeks, making it the top song of 1956. Now Presley wanted another song and Otis wanted to give him one. But nothing came. Then Al Stanton, one of the partners at Shalamar, happened to wander in.
BLACKWELL: "He walked in with a bottle of Pepsi, shaking it as they did at the time. Al said, 'Otis, I've got an idea. Why don't you write a song called "All Shook Up"?' A couple of days later I brought the song in and said 'Look man, I did something with it!'" So did Presley.

old country...

Since those days of getting together and having good times with friends, the old store has seen the likes of major hollywood movie stars, congressmen, mayors, county clerks, country music artists, clergy, good ole country boys, good ole city boys, yankee's, farmers, californians, japanese, german, english, czech, french, cajun's, tv commercials, album covers, and has even seen the likes of some of the Lynyrd Skynyrd band.

Now folks, ole Orville would have been mighty proud to draw back a dram of good corn licker with the likes of them people....Well maybe not the clergy. However I'm sure he would have never thought the old building would see the likes of that amalgamation of talent in one spot.

Jarrell

Thomas "Tommy" Jefferson Jarrell was born March 1, 1901 in Surry County, N.C. to Benjamin "Ben" Franklin Jarrell and Susan "Susie"Letisha (Amburn) Jarrell. He was born in his parents' home at the foot of Fisher Peak and was raised in the Round Peak area of Surry County, N.C. He had one foster sister (a first cousin) that was older than Tommy and ten younger brothers and sisters. The family raised corn, buckwheat, rye, beans, cabbage,sugar cane, sweet potatoes, Irish potatoes, and apples to feed this large family. They also raised tobacco and owned cattle.

Tommy would tell of how hard he had to work. He began plowing at the age of eight or nine and would work from sunup to sundown. He said his grandfather Rufus Jarrell never knew when to quit working, that he'd try his best to find something for you to do on a rainy day. The family had hired Bauga Cockerham to help on the farm and he was the one who taught Tommy his first tune on the banjo. Tommy was probably around seven years old when Bauga taught him to play Ol' Reuben. About a year later, Tommy's father bought him his first banjo. At age thirteen, he began to fiddle on his dad's fiddle. His dad had bought the fiddle from Tony Lowe's widow for five dollars. When Tommy was 14, in 1915, he bought his own fiddle for ten dollars from Huston Moore, having borrowed the money from Ed Ward. Tommy said he like to never got the fiddle paid for. Tommy still had this fiddle in the 1980s. Tommy's fiddle is now part of the Smithsonian Institute collection in Washington, D.C.