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Performances in New York City some at "Telharmonic Hall", 39th and Broadway [4] were well received by the public in , with Mark Twain among the appreciative audience. The actual mechanism of the instrument itself was so large it occupied an entire room�wires from the controlling console were fed discreetly through holes in the floor of an auditorium into the instrument room itself, which was housed in the basement beneath the concert hall. The Telharmonium foreshadowed modern electronic musical equipment in a number of ways.
For instance, its sound output came in the form of connecting ordinary telephone receivers to large paper cones�a primitive form of loudspeaker. Cahill was noted [ by whom? There are no known recordings of its music. The Telharmonium's demise came for a number of reasons. The instrument was immense in size and weight. This being an age before vacuum tubes had been invented, it required large electric dynamos which consumed great amounts of power in order to generate sufficiently strong audio signals.
Cahill died in ; his younger brother retained the Mark I for decades, but was unable to interest anyone in it. This was the last version to be scrapped, in Telharmonium tones were described as "clear and pure" [4] � referring to the electronic sine wave tones it was capable of producing. However, it was not restricted to such simple sounds. Each tonewheel of the instrument corresponded to a single note, and, to broaden its possibilities, Cahill added several extra tonewheels to add harmonics to each note.
This, combined with organ -like stops and multiple keyboards the Telharmonium was polyphonic , as well as a number of foot pedals, meant that every sound could be sculpted and reshaped � the instrument was noted for its ability to reproduce the sounds of common orchestral woodwind instruments such as the flute , bassoon , clarinet , and also the cello.
The Telharmonium needed kilowatts of power [4] and had keys that allowed it to work properly. From Wikipedia, the free encyclopedia. Type of electrical organ. Lebanon Valley College.
Archived from the original on Magic Music from the Telharmonium. Lanham, MD: Scarecrow Press. ISBN Isolated tracks from "Born in the U. The venue is long gone; the Friendly Enemies didn't last long themselves, as a quickly assembled, short-lived transitional band, but they soon adopted a name more familiar to later fans: Dr.
Zoom and the Sonic Boom. Jean Mikle's excellent Asbury Park Press article ran down details behind this significant gig in E Street history. It also drew upon a bit of material from Peter Ames Carlin's Bruce biography. Rock the house. Allman's reaction must have been especially pleasing to Stevie Van Zandt, whom Tellone describes as "a huge Allman Brothers fan.
Addressing today's anniversary on Twitter , Van Zandt recalls, "We already knew them from playing with them in Virginia.
Really great guys in addition to being a phenomenal band. There were two shows that night 50 years ago, an early show and a late show. While the Sunshine In was a regular venue for Springsteen at the time, this would be the Allmans' only performance there. Click here to hear the only circulating audio record of the evening, nine minutes of the Allmans courtesy of Tinker West's soundboard recording.
Van Zandt's book will be published in hardcover, ebook, and downloadable audiobook form. Stevie has confirmed via Twitter that he'll be reading the audiobook himself.
The memoir's "first true heartbeat," according to Hachette's announcement, "is the moment when Stevie Van Zandt trades in his devotion to the Baptist religion for an obsession with rock 'n' roll. Groups like the Beatles and the Rolling Stones created new ideas of community, creative risk, and principled rebellion. They changed him forever. It is more than just the testimony of a globe-trotting nomad, more than the story of a groundbreaking activist, more than the odyssey of a spiritual seeker, and more than a master class in rock 'n' roll not to mention a dozen other crafts.
It's the best book of its kind because it's the only book of its kind. There was something in his illness or in who he was that involved a tremendous denying of his family ties. And this created enormous problems for me as I got older, because I couldn't make a family connection. I always remember him complaining that if he hadn't had a family he would've been able to take a certain job and go on the road, but� it was a missed opportunity.
And he sat there over that six-pack of beers night after night after night after night, and that was his answer to it all. So� we felt guilt. Bonus Tracks makes available the 39 rare recordings and special demos that were a part of that limited edition box � two-and-a-half hours of music, including his song for Clarence Clemons, "Miss You, 'C. They originally appeared on the disc Face the Music box set, which my dear wife Amy produced with me.
Thanks Amy! It has been out of print for a while so we're sharing them with you digitally now. Featuring unreleased Grin tracks and favorites of mine, and I'm so grateful to the many talented musicians that grace this collection. Grin's version of "Keith Don't Go" features an inspired performance by Neil Young on piano and vocals. It rocks! Hope you all enjoy these tracks, and thank you all for listening all these decades.
You, the audience, are the main inspiration for everything you hear, here! Bless you all! Peace and Believe � Nils Lofgren. Click here to see full track listings and musician notes, and here to listen to or download Bonus Tracks on services including Spotify, Apple Music, Amazon, Deezer, and Tidal.
It's not often that either Jon Landau or Barbara Carr lifts the veil to tell what goes in the strategic or tactical workings to keep the business side growing. The principal authors, partners themselves in a New York-based talent management firm, have broadened their offerings to help clients and companies � often freelancers and tech companies � make better matches with one another, addressing generational and qualitative changes sweeping the 21st century workplace.
Solomon and Blumberg were close to Kristen Ann Carr, Barbara Carr's daughter, who passed away in ; both help administer the Kristen Ann Carr Fund , which provides funding for cancer research and improves the lives of people living with cancer. HarperCollins Leadership. Game Changer uses anecdotes, research, and lessons from their own partnership � and from their reinvention, as the music industry changed around them a decade or so after they established their firm.
The authors contrast the old ways of managing talent, whichever the industry, with the modern quest for workers who are both intelligent and empathic. Both Jon Landau and Barbara Carr spoke to the book's authors for Game Changer, and they provide a few colorful details that illustrate key points. Landau recalls a meeting, when he traveled to New Jersey after a snow storm � "Roads are blocked, it's a mess" � because Springsteen wanted to hang out and listen to records.
Bruce, Landau says, "wasn't interested in the weather� what he wanted was to stick to our plan" some trains were still running, as it turns out. The authors also show the importance of maintaining such a bond. Landau recounts a more recent instance, when a power failure brought a Springsteen show to a dead stop. As Bruce came off stage afterward, he good-naturedly greeted his manager and tour director George Travis, saying, "Gentlemen, there's only one thing I want to hear.
Barbara Carr goes on the record, too, and her importance to Springsteen can't be overstated. Fans and business people alike might still wish 17 Foot Bass Tracker Version for a deeper dive into Carr's role; part gatekeeper, part fan, part pioneer, and indispensable, in Springsteen's estimation. Springsteen's appeal, of course, carves a wide path; chances are that anyone curious about the music, technology, and modern workplace might find Game Changer a good read.
Great job Bristol! Over his "Atlantic City" performance, Springsteen recalls: "Maybe you can trace it back to the end of the Vietnam war But there's a dread in the air and in the idea of the American Dream that hadn't been present previously.
I wrote a very strange album in the early '80s called Nebraska�". That feeling, along with what he saw happen to his father � "experiences in Freehold, where I sort of saw what happens when there there's some union problems, and suddenly the factory is moving down South, and everybody is unemployed� and the cost that was paid by the families in town and my own" � that combination, says Springsteen, "moved me in writing [in that] direction.
I was just telling stories that I was feeling at the time. Also in Episode 5, "Every Man for Himself: Money and the American Dream," Springsteen and President Obama relate to each other's humble upbringings growing up with limited access to resources, discussing the visible class issues in their childhood communities, equal opportunity, and what went wrong with upward mobility in America. Listen to the full Episode 5 above, or on Spotify. As Springsteen and the Band gained momentum with every show that spring, fans would say to each other, "Just think what the Garden's going to be like.
As the focus shifted to reaction � by some in the New York City Police Department, and others who viewed the song as anti-cop � what was once going to be the celebratory finale to a triumphant reunion took on a different tone. Between the media firestorm to open the stand and the emotions running high on the final night July 1, , released in the Archive Series in October , one can be forgiven for forgetting that Bruce Springsteen and the E Street Band were simply at the top of their performance game.
Today's release � the stand's eighth show, recorded June 27, � is an excellent example. The song setlist relies on the same structure from the start of the tour, nearly 15 months earlier.
It includes ten songs performed at every show; the Garden stand expanded that list to But with many repeat customers in NYC, Springsteen's wild-card choices brought many changes.
Nine songs played on June 27 weren't in the set on July 1, including five which made their only Garden appearance.
Beyond setlist statistics, the show found Bruce and the E Street Band playing with their usual energy and intensity. Opening with "Code of Silence" unreleased at the time , Bruce's voice had a real edge to it � check out the way he and Little Steven attack the "c'mon, c'mon, c'mon" line in the verse following the bridge. Fans who had seen multiple shows on the tour could tell something extra was in the air.
Following "The Ties That Bind," Bruce went guitar god in "Adam Raised a Cain," utilizing feedback to set the tone in the intro and then stretching out on the angriest solo in his catalog, nearly overpowering the rest of the song.
From there, it was "C'mon, Steve! The first four songs played in tight succession, each segueing into the next. Bruce allowed "Two Hearts" to fade away completely, offering a moment of calm before starting the familiar guitar riff for "Trapped.
That pattern, the tension in the verses and the release in the chorus, left the audience needing a breather, which arrived with the bluegrass-influenced arrangement of "Factory," a duet with Patti Scialfa. By this eighth night, most in the crowd knew that "American Skin" was next up. Bruce introduced the song simply: "Got a new song for you, so we need a little bit of quiet.
We're recording, so please don't clap along. As the stand progressed, Bruce drew out the song's ending, giving a spotlight solo to Clarence Clemons. Even C's familiar presence didn't fully calm the nerves in the crowd. However, next up was "The Promised Land," and as soon as Bruce blew his harmonica, the crowd erupted. Next up was the Reunion five-pack, a sequence of songs that told a stories of industrial ruin "Youngstown," highlighted by Nils Lofgren's now-legendary guitar solo , urban paranoia "Murder Incorporated," which featured an impassioned vocal , and the desire to rise above one's environment, before celebrating that "it ain't no sin to be glad you're alive" "Badlands , communion "Out in the Street" and, finally, the E Street Band's origin story "Tenth Avenue Freeze-out".
In those days of seats on the floor, a stage rush came near the end of the main set. In New York City, the stage rush began earlier each night; this night it was during "Out in the Street.
For the biggest wild card of the night, Bruce pulled 17 Foot Bass Tracker Usb out two songs from Tracks : a version of "Loose Ends" that may stand as definitive for the classic E Street Band line-up, including Clarence's nearly perfect solo, and "Back in Your Arms. The solo-acoustic number was a straight-up rarity: "Mary Queen of Arkansas," its third spin of the tour after going unplayed since No rust was evident in Bruce's performance.
For the "epic" slot, Springsteen went with an emotional reading of "Backstreets," another opportunity for a ripping guitar solo. Rider" and "Jenny Jenny" � much to the crowd's loud approval.
Listeners and viewers of Live in New York City , captured at the two following shows, know Springsteen's preacher shtick during "Light of Day," when he talked about his ambassadorial mission to bring together the people of New York and New Jersey.
He may have sought diplomatic ties, but he fanned the flames of interstate rivalry, noting that the Statue of Liberty is in New Jersey, The Sopranos was filmed in New Jersey, and, yes, the Jersey Devils won the Stanley Cup that year.
The encores kicked off with "Hungry Heart," and the boisterous audience was all too happy to sing its part. Then the house lit up for "Born to Run. On June 27, Bruce performed a rollicking "Blinded By the Light," for which the crowd again showed its loud approval. While Springsteen made a statement at all ten Garden shows with "American Skin," there was another statement that he and the Band made: They were reclaiming the title of best rock 'n' roll band on the planet, and this recording of June 27, , is conclusive evidence.
A critical and artistic success, it nevertheless failed to achieve the sales that it deserved. Available initially in digital form, it will also appear on CD and vinyl in the near future. The album originally comprised 12 Tom Waits songs reworked in Big Band style. While Southside's vocal contribution to the album is not inconsiderable, he would be the first to acknowledge that La Bamba was responsible for the lion's share of work on the project.
La Bamba arranged and orchestrated the material and conducted the musicians in the studio. We spoke to him this week as release day approached. Who came up with the original concept? It was completely Johnny's idea. He asked me to orchestrate everything.
I was literally given a blank canvas. He also gave me my choice of producer. I chose my friend Dan Gralick from the Jersey shore.
Johnny picked the first four tunes. We shared up the other titles. I tried to pick ones that had the most developed structure in them. Tell me about your work creating the arrangements. It was painstaking. Back then I was scoring on paper music pads, with pencil and eraser.
A computer novice. He would copy what I wrote onto the software and print out parts. It was very tedious work. Evan Barker came in to copy charts, too. I wrote for 13 horns, guitar, piano, bass, drums, and more. Barely any ad-lib at all. There was no time frame. What was the atmosphere like in the studio? It was like standing in front of an orchestra at a Sinatra session. We had rehearsals before the sessions.
That's the first time Johnny heard the charts. He looked like he was blown away. I know he had confidence in me, but this was more than we both expected. Dan did a masterful job producing. He has not received enough credit.
Were they in the same room together? Johnny, Dan, and Joe Prinzo went to Tom's studio. I stayed back to do a Conan show. Wish I had gone! I scored "Straight to the Top," which was a tune Johnny had mentioned for the album. The concert itself was very difficult to put together. We had a huge moon light made. Were you disappointed the record wasn't more successful first time around?
We didn't shop it enough. I was shocked that a decision was made that it was landing on Leroy. Big mistake. It got a second chance on the Jazz market. Did great on Jazz radio, where it belonged.
The album is a highlight of your respective careers. You must be very proud of it. It is. And we most certainly are. All of us at the label are beyond thrilled for the release. BTX update: After what should have been a standard server migration, unforeseen compatibility issues resulted in the message board going kaput. Springsteen mined similar meta territory in his playlist for the 19th episode of From My Home to Yours.
Its theme, in essence: rock 'n' roll songs about rock 'n' roll bands � and the fans who love and inspire them in turn. Greetings, Earthlings! Listeners from coast to coast and around the world. We can break down today's playlist roughly into three categories, using its classic track from the MC In some songs, of course, like this one, they get hazy and bleed together.
But from his own catalog, Springsteen cued up three tracks that illustrate these elements clearly. Springsteen calls "Kick Out the Jams" a "raging tribute to playing rock 'n' roll" and unleashes a reading of motherfucker that's up there with Samuel L. Also in the Bands category, he spins "Pumping Iron," a song he's performed live numerous times with "my Pittsburgh brother" Joe Grushecky and the then-Iron City Houserockers. The downside of Fans, too: "Walk down the street, people you meet think they own you," Thompson sings in a verse.
But the Band perspective in the chorus is what Springsteen remarks on with a laugh, singling out "the classic lyrics, 'You made it, what you gonna do now? That is the question! Rockin' Here Tonight was also the title of a benefit compilation album in the Songs for Slim series, when Fans and Bands came together in the wake of Dunlap's stroke to record his songs and help with medical costs.
He released two solo albums, The Old New Me and Times Like This , both required listening for any true-hearted rock 'n' roll aficionado. Much of the FMHTY fun remains getting to hear what obscurities Bruce has found, like any great DJ, digging up jewels for Sophia and otherwise , his commentary shining a light on artists listeners may never have heard of. Great Band. The band has been compared to the Cramps and the Gun Club; their most recent album, Terminal Everything , was released in It's striking that this is Bruce's first playlist with all male lead vocals, and all the muses are women.
But rather than see that as "problematic" we know he loves female singers � hell, he married one of 'em , we'll chalk it up to a playlist inspired by personal experience, down to his nightly inspiration on the concert stage:.
So you're onstage, an hour into the show, and you haven't quite caught fire yet. That's an unpleasant feeling, that far into the night. So you're casing the crowd, eyes on the front rows, looking for a little inspiration, searching for some gasoline to throw on the fire. Of course, a Muse isn't always about that kind of fuel. Joe was a religious attendee of the Glastonbury Festival, and that's where it feels like this song came from. You are deeply missed. This opening two-fer also establishes a sonic thread that runs through much of the episode.
Much of the time, you'd be forgiven for thinking this is a jangle pop playlist. Blue Cartoon's "She's a God," the power pop masterpiece "Girl of My Dreams" by Bram Tchaikovsky "the fabulous one-hit wonder" � Is that what this theme "sounds like" in Springsteen's head?
Maybe it's the richest genre vein to tap, of songs about American Girls and dream girls. Or are these artists writing more self-referential lyrics? Again, we flash back to Vol. In any case, these regular dips into the power pop sugar bowl tie Volume 19 together as a particularly enjoyable playlist. And who doesn't like the glimpses we get when Bruce goes on about his love for the Raspberries? It's a tribute to the beauty and thrills of fandom, reflecting my many joyful nights that I spent at The Stone Pony, watching and sitting in with local acts, flirting with the waitresses, under the spell of blackberry brandy.
Returning home in my white C10 pickup at 3 a. Those were the days of good feelings. Of being a part of something. Of a real community of musicians and locals, of folks who when Saturday night rolled around, had some place to go, somebody to see, something to dedicate yourself to. And music: music, music, music, to play, to listen to, to live to.
Having done thoroughly kicked the jams out � and cued up one more perfect pop record in Tom Petty's "American Girl" for the outro � Springsteen signs off "with love and a thank you to all the folks, all of you who've inspired me and acted as my muse over the years.
Please keep on coming. There's many miles and a long road ahead before sunset. From the Fans side, we're with you all the way, Boss. These products are the best I can find in the world. So enjoy, be well, and stay focused on the only part of our destinies we totally control � what we choose to put in our bodies.
First to the Underground Apothecary shelves are Kava Manuka Tea and Ginger Manuka Tea, available in individual sachet packages or in discounted double-package combos. Gift certificates for Little Steven's Underground Apothecary also can be purchased. Other products expected to become available from the Apothecary later this year include "FlowerPower Pops" � handmade lollipops in ginger, kava, and turmeric flavors � which can be enjoyed on their own or stirred into teas.
A line of coffee, hand-poured scented soy candles, and an organic hot sauce are on the horizon, too. This sustained donation will continue to support TeachRock's ongoing efforts to provide K educators, students, and individuals � free of charge - with engaging, multicultural lesson plans for history, social studies, language arts, music, and science classrooms, using the history of popular music for learning at all levels.
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