Record Cylinders - 1893-1925 - United States Marine Band
John Phillip Sousa and the United States Marine Band (1893) The United States Marine Band is the premier band of the United States Marine Corps. Established by act of Congress on July 11, 1798, it is the oldest of the United States military bands and the oldest professional musical organization in the United States. The Marine Band is uniquely known as "The President's Own" because of its historic connection to the President of the United States. The relationship between the Marine Band and the White House began on New Year's Day 1801, when President John Adams invited the band to perform at the Executive Mansion. Later that year, Thomas Jefferson initiated the tradition of Marine Band performances by requesting that it perform at his inauguration. The Marine Band has played at every United States presidential inauguration since. Today, the Marine Band performs in approximately 500 events every year including state funerals, State Arrival Ceremonies, state dinners, parades, concerts, and other social events. The Marine Band also travels across the country each October and November during its fall concert tour, a tradition that began in 1891 under its most famous director, composer John Philip Sousa. 01 - The Enthusiast Polka - 1893 02 - La Manana - 1896 03 - Brooke's Triumphal March - 1909 04 - Eglantine Caprice - 1909 05 - In God We Trust - 1909 06 - Kaiser Friedrich - 1909 07 - Lola - 1909 08 - Maria Theresia - 1909 09 - Marsovia Waltz - 1909 10 - Salute To Mexico - 1909 11 - Semper Fidelis - 1909 12 - Staunch And True March - 1909 13 - The Bachelors - 1911 14 - The Coquette - 1909 15 - Thomas Jefferson March - 1909 16 - Austrian Army - 1910 17 - Emperor's Manoeuvre Emperor's Maneuver - 1910 18 - Manila - 1910 19 - Salute To Washington - 1910 20 - Southern Ideal - 1910 21 - Strenuous Life - 1910 22 - Star-Spangled Banner (Song) - 1910 23 - The Voice Of Our Nation Medley Part 1 - 1910 24 - True To The Flag [Treu Zur Fahne Marsch] - 1910 25 - General Heywood;our Glorious Banner - 1911 26 - Myositis - 1911 27 - Old Berlin - 1911 28 - Unser Kaiserhaus - 1911 29 - With Shot And Shell - 1911 30 - Spanish Dance (Suite Bal Costume) - 1912 31 - Girimeo Polka - 1913 32 - Old Comrades March - 1913 33 - Our Volunteers Waltz - 1913 34 - Ride Of The Thuringia Hussars - 1913 35 - The Premier - 1913 36 - My Heart At Thy Sweet Voice [Samson Et Dalila] - 1915 37 - Regimental Pride March - 1925 LINK Record Cylinders - 1890-1920 - Marches
Phonograph cylinders were the earliest commercial medium for recording and reproducing sound. Commonly known simply as "records" in their era of greatest popularity (c. 1888–1915), these cylinder shaped objects had an audio recording engraved on the outside surface which could be reproduced when the cylinder was played on a mechanical phonograph. The competing disc-shaped gramophone record system triumphed in the market place to become the dominant commercial audio medium in the 1910s, and commercial mass production of phonograph cylinders ended in 1929. 01 - Baldwin's Cadet Band Of Boston - 1893 - Beau Ideal March 02 - C.P.Lowe Band - 1905 - Diplomat March 03 - Columbia Band - 1905 - Directorate March 04 - Columbia Orchestra - 1904 - El Capitan March 05 - Edison Concert Band - 1913 - Aida March 06 - Edison Grand Concert Band - 1901 - Adventurer's March 07 - Edison Grand Concert Band - 1902 - Imperial Edward March 08 - Edison Military Band - 1904 - Washington Post March 09 - Edison Military Band - 1906 - 10Th Regiment March 10 - Edison Military Band - 1907 - High School Cadets March 11 - Edison Military Band - 1907 - National Fencibles March 12 - Edison Military Band - 1907 - The 74Th Regiment March 13 - Gilmore's Band - 1904 - Admiral's Favorite March 14 - Indestructible Band - 1911 - Jack Tar March 15 - Indestructible Band - 1911 - The Free Lance March 16 - Indestructible Military Band - 1908 - 2Nd Regiment Connecticut National Guard March 17 - Indestructible Military Band - 1908 - 23Rd Regiment March 18 - Indestructible Military Band - 1910 - Liberty Bell March 19 - New York Military Band - 1911 - The Boy Scouts Of America March 20 - New York Military Band - 1913 - From Maine To Oregon March 21 - New York Military Band - 1915 - The Gladiator March 22 - New York Military Band - 1917 - King Cotton March 23 - New York Military Band - 1917 - The Invincible Eagle March 24 - New York Military Band - 1918 - Hands Across The Sea March 25 - New York Military Band - 1918 - Naval Reserve March 26 - New York Military Band - 1918 - Sabre And Spurs March 27 - New York Military Band - 1918 - The Volunteers March 28 - New York Military Band - 1918 - Wisconsin Forward Forever March 29 - New York Military Band - 1919 - Wedding March 30 - Prince's Military Band - 1906 - On To Victory March 31 - Sousa's Band - 1901 - Hail To The Spirit Of Liberty March 32 - Sousa's Band - 1909 - Powhatan's Daughter March 33 - Sousa's Band - 1911 - Florentiner March 34 - Sousa's Band - 1913 - Stars And Stripes Forever March 35 - Sousa's Band - 1926 - Glory Of The Yankee Navy March 36 - United States Marine Band - 1910 - The Rifle Regiment 37 - United States Marine Band - 1920 - Semper Fidelis March 38 - United States Military Band - 1909 - Manhattan Beach And Gladiator March LINK
Soft Machine were an English rock band from Canterbury, named after the book The Soft Machine by William S. Burroughs. They were one of the central bands in the Canterbury scene, and helped pioneer the progressive rock genre. Soft Machine (billed as The Soft Machine up to 1969) were formed in mid-1966 by Robert Wyatt (drums, vocals), Kevin Ayers (bass, guitar, vocals), Daevid Allen (guitar) and Mike Ratledge (organ) plus, for the first few gigs only, American guitarist Larry Nowlin. Allen, Wyatt and future bassist Hugh Hopper had first played together in the Daevid Allen Trio in 1963, occasionally accompanied by Ratledge. Wyatt, Ayers and Hopper had been founding members of the Wilde Flowers, later incarnations of which would include future members of another Canterbury band, Caravan. This BBC Radio first volume contains all the sessions recorded for John Peel's 'Top Gear' programme. This features several previously unreleased recordings, including the 1967 session with Kevin Ayers on bass, guitar and vocals. The running order is mostly chronological, but has been tinkered with by Robert Wyatt, "for reasons of aural satisfaction".
01 - Clarence In Wonderland 02 - We Know What You Mean 03 - Certain Kind 04 - Hope For Happiness 05 - Strangest Scene (AKA Lullaby Letter) 06 - Facelift , Mousetrap , Noisette , Backwards , Mousetrap Reprise 07 - The Moon In June 08 - Instant Pussy 09 - Slightly All The Time , Out Bloody Rageous , Eamonn Andrews
01 - Virtually 02 - Fletcher's Blemish 03 - Neo-Caliban Grides 04 - Dedicated To You But You Weren't Listening 05 - Eamonn Andrews,All White 06 - Mousetrap-Noisette-Backwards-Mousetrap Reprise-Esther's Nose Job
The South London-based Killing Floor was originally a pop duo formed by lead guitarist Mick Clarke and vocalist/harmonica player Bill Thorndycraft. During the British blues boom of 1968-1969, they decided to form a "straight blues" group, recruiting prospective members from the classified pages of Melody Maker. Joining them were piano player Lou Martin, bassist Stuart MacDonald, and drummer Bazz Smith. Taking their name from Howlin' Wolf's "Killing Floor" (Wolf's cover was itself a version of Robert Johnson's "The Lemon Song"), the band played just one gig before ex-Radio Caroline DJ and ardent blues fanatic John Edward offered to manage them. Edward's connection with the Southern Music publishing company led to them signing with Southern's Spark Records imprint. The band was booked into Pye Recording Studios and with Edward aboard as "producer," they recorded their self-titled debut in 12 days' time. Most of the material was re-configured Chicago blues classics, except for a cover of Willie Dixon's "You Need Love." Killing Floor was released in the U.S. on new London subsidary Sire. By mid-1972, Killing Floor had disbanded.
01 - Woman You Need Love 02 - Nobody By My Side 03 - Come Home Baby 04 - Bedtime Blues 05 - Sunday Morning 06 - Try To Understand 07 - My Mind Can Ride Easy 08 - Wet 09 - Keep On Walking 10 - Forget It 11 - Lou's Blues 12 - People Change Your Mind
Sweet Smoke were a 1960's and 70's progressive jazz-rock band. They incorporated many different influences, such as jazz, funk and island rhythms. They were originally formed in Brooklyn, New York in 1967, although the band moved to live as a commune in Germany before the decade was out. They have a fan presence on the internet to this day. Line-up 1970 (Just A Poke), Andrew Dershin – bass guitar, Michael Paris – tenor saxophone, alto recorder, vocals, percussion, Jay Dorfman – percussion and drums, Marvin Kaminovitz – lead guitar, vocals and Steve Rosenstein – rhythm guitar, vocals. Just a Poke is the first album by Sweet Smoke, released in 1970, engineered by Conny Plank. The song Baby Night displays the band's progressive jazz fusion style at the time. The song can be divided into three main sections, the highlights being the instrumental sections.
The Godz were a New York City-based garage rock band that existed from 1966 to 1973. Their music varied from early noise rock to avant-garde and psychedelic rock. Jim McCarthy (vocals, guitar, flute, harmonica), Paul Thornton (vocals, guitar, drums, maracas), Jay Dillon (vocals, autoharp) and Larry Kessler (vocals, violin, bass guitar). The Godz started in 1966 on the ESP-Disk label. The first recording, produced by ESP-Disk at the close of 1966, was an attempt to rise above the limitations and accepted norm for popular music at the time. 1967 produced the second recording, a bolder, more adventurous soundscape which is, in some people's opinion, the group's masterpiece. The third album, in 1968, saw the quartet become a trio. In 1973, a fourth and last group LP "Godzundheit" was recorded.
01 - Radar Eyes 02 - Riffin 03 - Where 04 - New Song 05 - Squeek 06 - Soon the Moon 07 - Crusade 08 - You Won't See Me 09 - Travelin' Salesman 10 - Permanent Green Light
War (originally called Eric Burdon and War) is an American funk band from California, known for the hit songs "Low Rider", "Spill the Wine", "The Cisco Kid" and "Why Can't We Be Friends?". Formed in 1969, War was a musical crossover band which fused elements of rock, funk, jazz, Latin, rhythm and blues, and reggae. The band also transcended racial and cultural barriers with a multi-ethnic line-up. The band has sold over 50 million records to date. War is the third album by War, or their first following the departure of singer Eric Burdon and the group's name change from the original Eric Burdon and War. It was released in April 1971 on United Artists Records, their first for the label. The album did not gain much attention upon release, but sales and critical acclaim picked up after their subsequent hit albums throughout the 1970s, the next appearing later in 1971. One single was taken from the album: "Lonely Feelin'" backed with "Sun Oh Son", which did not chart. Of the other songs, "War Drums" includes a chant of the band's name and appears to be an attempt at a group theme song; and "Fidel's Fantasy" generated some controversy over its spoken word monologue criticizing Fidel Castro.
01 - Sun Oh Sun 02 - Lonely Feelin' 03 - Back Home 04 - Drums 05 - Vibeka 06 - Fidel's Fantasy
Originating as a beat group in the mid-60's, playing mainly at US air bases in Southern Germany. By 1969 they'd become the art-rock band Chromosom, heavily influenced by the American West Coast sound. After the addition of Bernd "Steve" Leistner on vocals, and the new name Wind, they recorded their debut album for the new progressive arm of the budget label Miller, namely +Plus+. Offered a richly textured progressive rock, lyrical yet also very musically involved, and certainly very Anglo-American inspired, but with that German oddness typical of such bands. Steve Leistner / lead vocals, percussion, Thomas Leidenberger / guitar, vocals, Andreas Bueler / bass, vocals, percussion, Lucian Bueler / keyboards, vocals, percussion and Lucky Schmidt / drums, percussion, Mellotron, piano. While their debut sounded slightly like Deep Purple, their second and last album was much more in the vein of early British symphonic progressive rock like Cressida and Spring. Especially the latter one often comes to mind when I'm listening to this record. Here it also became more obvious that the band actually had a really good singer, who often sounded like Pat Moran from Spring.
01 - Morning Song 02 - The Princess And The Mistrel 03 - Dragon's Maid 04 - Carnival 05 - Schlittenfahrt 06 - Puppet Master 07 - Tommy's Song 08 - Josephine