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999

[edit]

The Biggest Prize in Sport

[edit]

Background, recording, and production

[edit]
  • Separates (September 1978, United Artists, UAG 30209)
  • High Energy Plan (U.S./Canada Release only: 1979, PVC / Radar / Passport) Based upon Separates, with a different cover and slightly altered track listing; on High Energy Plan, "Tulse Hill Night" and "Out of Reach" are replaced by "Waiting" and "Action".
  • From UA to Polydor/Ariola
  • USA tour
  • Labritain broke his arm → Ed Case
  • European tour


UK's gigs
  • 362 999, Black Slate Roundhouse, London 19.03.1978 9.25
  • 394 999 Camden Music Machine, London 30.05.1978 9.25
  • 427 999 Nashville Pub, London 28.07.1978 9.25
  • 604 999, Donkeys Marquee Club, London 05.10.1979 9
  • 648 999 Nashville Pub, London 15.12.1979 9
  • 773 999, Spizz 80, Splodge Lyceum Theatre, London 17.09.1980 9.25


from http://www.nineninenine.net/englishwipeoutnews.htm

Early 1979 saw 99 tour the USA, an achievement in itself as they were still without a USA record deal at the time! The response was ecstatic and a deal with Polydor sealed.

After two albums 999 left United Artists, recorded a further 10 albums and to date have completed 13 USA tours, 87 London gigs, 26 UK tours and 19 European tours. An impressive tally from one of the most outstanding bands of their generation.


from http://www.nineninenine.net/Biography.htm

The second album "Separates" was released and immediately the single "Homicide" leapt straight into the UK top forty without any Radio airplay and was banned by the BBC and most radio stations.

Early 1979 saw the band embarking on their first U.S. tour, which was an achievement in itself, as they were still without a record deal in America at the time. Response to the band was ecstatic, all the venues being filled and import albums being sold out in a rush of enthusiasm. The band were immediately booked for a return trip.


from http://www.hiljaiset.sci.fi/punknet/999_e.htm

In end of 1978 LaBritain injuried in a car accident and was replaced by Ed Case who was band's long time fan. In March 1979 they made first American tour - not so successful. After the tour LaBritain came back to drums, but Ed was sill some kind of fifth member of the band.

After UA 999 recorded to several record label but had only minor success with Albion in the beginning of 80's.

  • -- LP -- Separates (10.000 contains a voucher with which You get Action maxi free; United Artists UAG-30209) 9/78

Action / Waiting (12" EP; Labritain 12-FREE-10) -78

  • -- LP -- High Energy Plan (=Separates in USA, two tracks changed; PVC/Radar PVC-7999 (USA)) -79
    • I'm Alive / Quite Disappointing (United Artist UP-36159) 6/79
  • Found Out Too Late / Lie, Lie, Lie (Radar ADA-46) 9/79
  • Trouble / Made a Fool of You (Polydor POSP-99) 1/80
  • -- LP -- The Biggest Prize in Sport (Polydor POLS-1013) 1/80- later also as CD (Anagram CDPUNK 67)
  • Boys in the Gang // Brent Cross / Ain't Gonna Tell You (Liberty-United) 03/80
  • -- LP -- The 999 Singles Album (Liberty-United SOS-999) 6/80
  • -- LP -- The Biggest Tour in Sport (mini-LP; Polydor PD-1-6307(USA)) -80
  • Obsessed // Change / Lie, Lie, Lie (live) (Albion ION-1011) 4/81
  • Obsessed (mono) / Obsessed (stereo) (promo; Polydor PD-2172-DJ (USA) -81
  • -- LP -- Concrete (Albion ITS-999) 4/8


from 999's article

End of 1979: Ed Case temporarily replaces an injured Pablo Labritain on drums. Spring 1980: Labritain returns after injury.

999 toured widely in the United States and the band was rewarded when their albums The Biggest Prize In Sport and Concrete charted on the Billboard 200. In the US, "Homicide" & "Hollywood" garnered frequent rotation on Rock of the 80s format radio stations like KROQ in Los Angeles. According to Dave Thompson, "For many Americans, they were the first to actually bother with the backwoods, playing places which other Brit bands hadn't heard of, and returning to them again and again. And while no one knows how many American bands were first inspired to take up arms by 999, those that did still wear their loyalties loudly."[1]



999 DISCOGRAPHY
  • 1978 UK "Emergency" 7" United Artists - UP 36399 (Demo copy in black/white PS (not a proof sleeve - it is a regular sleeve (Delga on back)))
  • 1978 UK "Emergency" 7" United Artists - UP 36399 (Demo copy in colour PS)
  • 1978 UK "Emergency" 7" United Artists - UP 36399
  • 1978 UK "Emergency" 7" United Artists - UP 36399 (Different label design: No "Side 1" and "Side 2" on labels)
  • 1978 Belgium "Emergency" 7" United Artists - 4C 006-60474
  • 1978 Holland "Emergency" 7" United Artists - 5C 006-60474
  • 1978 Japan "Emergency" 7" United Artists - CM-141 (Insert cover)
  • 1978 Portugal "Emergency" 7" United Artists - N-S-14-135
  • 1978 UK "999" LP United Artists - UAG 30199 (Printed innersleeve)
  • 1978 Australia "999" LP Wizard - ZL 229
  • 1989 France "999" LP Fan Club - FC 026 (Printed innersleeve)
  • 1978 Germany "999" LP United Artists - UAS 30 199 XOT (Printed innersleeve)
  • 1979 Germany "999" LP Ariola - 201 043
  • 1978 Greece "999" LP United Artists - UAG 30199
  • 1978 Japan "999" LP United Artists - GP-585 (WIth printed insert and obi)
  • 1978 Sweden "999" LP Liberty - UAG 30199 (Printed innersleeve)
  • 1978 USA "999" LP United Artists - UAG 30199 (Printed innersleeve. US release is imported UK edition with JEM sticker on front cover)
  • 1989 France "999" CD Fan Club - FC 026 CD
  • 1993 UK "999" CD Dojo - DOJO CD 149
  • 2000 UK "999" CD Captain Oi! - AHOY CD 147
  • 2007 UK "999" CD Captain Oi! - AHOY DPX 147 (Digi-pack)
  • 1979 Australia "Titanic (My Over) Reaction" 7" Wizard - ZS 309
  • 1980 Australia "Titanic (My Over) Reaction" 12" Wizard - ZS 12309 (In rubber-stamped die-cut sleeve)
  • 1978 UK "Me And My Desire" 7" United Artists - UP 36376
  • 1978 Germany "Me And My Desire" 7" United Artists - 36 376 AT
  • 1978 Spain "Me And My Desire" 7" United Artists - 15613-A
  • 1978 UK "Feelin' Alright With The Crew" 7" United Artists - UP 36435 (Demo)
  • 1978 UK "Feelin' Alright With The Crew" 7" United Artists - UP 36435
  • 1978 UK "Separates" LP United Artists - UAG 30209 (Printed innersleeve)
  • 1978 France "Separates" LP United Artists - 2S 062 61897
  • 1989 France "Separates" LP Fan Club - FC 027 (Printed innersleeve)
  • 1978 Germany "Separates" LP Ariola - 200 398
  • 1979 Japan "Separates" LP United Artists - GP-649 (With printed insert and obi)
  • 1978 Sweden "Separates" LP United Artists - UAG 30209 (Printed innersleeve)
  • 1989 France "Separates" CD Fan Club - FC 027 CD
  • 1993 UK "Separates" CD Dojo - DOJO CD 150 (Sticker on cover)
  • 2000 UK "Separates" CD Captain Oi! - AHOY CD 148
  • 1978 UK "Homicide" 7" United Artists - UP 36467 (Demo)
  • 1978 UK "Homicide" 7" United Artists - UP 36467 (Black vinyl. Push-out centre)
  • 1978 UK "Homicide" 7" United Artists - UP 36467 (Black vinyl. Solid centre)
  • 1978 UK "Homicide" 7" United Artists - UP 36467 (Green vinyl)
  • 1978 Germany "Homicide" 7" Ariola - 100 418
  • 1978 Holland "Homicide" 7" United Artists - 5C 006-61845
  • 1979 Spain "Homicide" 7" United Artists - 10C 006-082.620
  • 1978 UK "Waiting" 12" Labritain - 12 FREE 10
  • 1979 USA "High Energy Plan" LP PVC - PVC 7999 (Blue label design)
  • 1979 USA "High Energy Plan" LP PVC - PVC 7999 (Black/white label design)
  • 1979 Canada "High Energy Plan" LP Passport - 9167-9838
  • 1979 Canada "High Energy Plan" LP North American - NA-025
  • 1979 UK "Found Out Too Late" 7" Radarscope - ADA 46
  • 1979 UK "Found Out Too Late" 7" Radarscope - ADA 46 (Black/white picture sleeve)
  • 1979 UK "Found Out Too Late" 7" Radarscope - ADA 46 (Black/white picture sleeve. In stickered shrinkwrap with badge)
  • 1979 Germany "Found Out Too Late" 7" Ariola - 101 006
  • 1980 UK "The 999 Singles Album" LP United Artists - SOS 999
  • 1980 Portugal "The 999 Singles Album" LP United Artists - 11C 076-82855
  • 1980 Sweden "The 999 Singles Album" LP United Artists - 7C 062-82855
  • 1980 Germany "The 999 Singles Album" LP Ariola - 202 554
  • 1980 UK "The Biggest Prize In Sport" LP Polydor - POLS 1013
  • 1980 Canada "The Biggest Prize In Sport" LP Polydor - PD-1-6256 (Printed innersleeve)
  • 1980 France "The Biggest Prize In Sport" LP Polydor - 2383 563
  • 1980 Germany "The Biggest Prize In Sport" LP Ariola - 201 331 (Printed innersleeve)
  • 1980 Holland "The Biggest Prize In Sport" LP Ariola - 201 331 (Printed innersleeve)
  • 1980 Greece "The Biggest Prize In Sport" LP Polydor - 2383 563
  • 1980 Sweden "The Biggest Prize In Sport" LP Albion - 9198 728
  • 1980 USA "The Biggest Prize In Sport" LP Polydor - PD-1-6256 (Printed innersleeve)
  • 1980 USA "The Biggest Prize In Sport" LP Polydor - PD-1-6256 (Re-release with different label-layout and different back sleeve design)
  • 1980 USA "The Biggest Prize In Sport" LP Polydor - PD-1-6256 (Promo. Printed innersleeve)
  • 1995 UK "The Biggest Prize In Sport" CD Anagram - CD PUNK 67
  • 1980 Austria "Boys In The Gang" 7" Ariola - 101 734-100
  • 1980 Germany "Boys In The Gang" 7" Ariola - 101 734-100
  • 1980 USA "Hollywood" 7" Polydor - PD 2076 (Promo only - plays same track both sides)
  • 1980 Germany "The Biggest Tour In Sport" MLP Ariola - 203 235
  • 1981 Sweden "The Biggest Tour In Sport" MLP Albion - ALB 999
  • 1980 USA "The Biggest Tour In Sport" MLP Polydor - PD-1-6307 (Sticker on cover)
  • 1980 UK "Trouble" 7" Polydor - POSP 99
  • 1980 Australia "Trouble" 7" Polydor - 2059 199
  • 1980 Portugal "Trouble" 7" Polydor - 2059 199
  • 1980 Sweden "Trouble" 7" Albion - 6198 317
  • 1981 UK "Obsessed" 7" Albion - ION 1011 (Sealed in shrinkwrap with patch)
  • 1981 UK "Obsessed" 7" Albion - ION 1011 (Embossed sleeve)
  • 1981 UK "Obsessed" 7" Albion - ION 1011 (Regular non-embossed sleeve)
  • 1981 Australia "Obsessed" 7" Liberation - LS-543
  • 1981 Germany "Obsessed" 7" Ariola - 103 369-100
  • 1981 USA "Obsessed" 7" Polydor - PD 2172
  • 1981 USA "Obsessed" 7" Polydor - PD 2172 DJ (Promo - plays same track both sides)
  • 1981 USA "Obsessed" 12" Polydor - PRO 155 (Promo only. Sticker on cover)
  • 1981 UK "Concrete" LP Albion - ITS 999 (Poster included)
  • 1981 Australia "Concrete" LP Liberation - LIB-5001
  • 1981 Canada "Concrete" LP Polydor - PD-1-6323
  • 1981 France "Concrete" LP Albion - 201880
  • 1981 Germany "Concrete" LP Ariola - 203 681
  • 1985 Germany "Concrete" LP Line - ALLP 4.00017 (White vinyl. Sticker from shrinkwrap)
  • 1981 Japan "Concrete" LP Victor - VIP-6784 (With printed insert and obi)
  • 1981 USA "Concrete" LP Polydor - PD-1-6323
  • 2003 UK "Concrete" CD Captain Oi! - AHOY CD 232
  • 1985 Germany "Concrete" CD Line - ALCD 9.00017
  • 1981 UK "Lil Red Riding Hood" 7" Albion - ION 1017 (Stencil insert cover)
  • 1981 South Africa "Lil Red Riding Hood" 7" Albion - ION 800
  • 1981 UK "Indian Reservation" 7" Albion - ION 1023 (Clear vinyl)
  • 1981 UK "Indian Reservation" 7" Albion - ION 1023 (Clear vinyl. Sticker included)
  • 1981 UK "Indian Reservation" 7" Albion - ION 1023 (Black vinyl. Grey label design)
  • 1981 UK "Indian Reservation" 7" Albion - ION 1023 (Black vinyl. Green label design)
  • 1981 Italy "Indian Reservation" 7" Albion - P 604
  • 1981 Sweden "Indian Reservation" 7" Albion - ION 1023
  • 1982 UK "Wild Sun" 7" Albion - ION 1033 (Black vinyl - promo only)
  • 1982 UK "Wild Sun" 7" Albion - ION 1033 (Red vinyl)
  • 1982 UK "Wild Sun" 7" Albion - ION 1033 (Yellow vinyl)
  • 1982 Germany "Wild Sun" 7" Albion - 2040 361
  • 1982 UK "Wild Sun" 12" Albion - 12 ION 1033 (Red vinyl)
  • 1982 UK "Wild Sun" 12" Albion - 12 ION 1033 (Yellow vinyl)
  • 1983 UK "13th Floor Madness" 7" Albion - ION 155
  • 1983 UK "13th Floor Madness" 12" Albion - 12 ION 155
  • 1983 UK "13th Floor Madness" LP Albion - AS 8502
  • 1984 Germany "13th Floor Madness" LP Line - LRLP 5352
  • 1985 Germany "13th Floor Madness" LP Line - ALLP 4.00073 (White vinyl)
  • 1988 Germany "13th Floor Madness" CD Line - ALCD 9.00073
  • 1984 Germany "Arabesque" 7" Line - 6.14168
  • 1984 UK "Identity Parade" LP Albion - ALB 118
  • 1985 UK "Face To Face" LP Labritain - LAB LP 1000 (Printed insert)
  • 1993 UK "Face To Face" CD Obsession - OBSESS CD 003
  • 1986 UK "In Case Of Emergency" LP Dojo - DOJO LP 31
  • 1987 UK "Lust Power And Money" LP ABC - ABC LP 11 (Printed innersleeve)
  • 1987 France "Lust Power And Money" LP Accord - 130093 (Printed innersleeve)
  • 1987 UK "Lust Power And Money" CD ABC - ABCD 11
  • 1993 UK "Lust Power And Money" CD Dojo - DOJO CD 129
  • 1987 UK "Feelin' Alright With The Crew - Klub Foot 18.04.87" VHS Jettisoundz - JE 162
  • 2004 UK "Feelin' Alright With The Crew" DVD Cherry Red - CRDVD 44
  • 1989 UK "Live And Loud" LP Link - LINK LP 107
  • 1990 UK "Live And Loud" CD Link - LINK CD 107
  • 1990 UK "The Cellblock Tapes" LP Link - LINK LP 125
  • 1991 UK "Greatest Hits Live" CD Street Link - STR CD 026
  • 1991 USA "Live In LA 1991" CD Triple X - 51076-2 (In longbox)
  • 1992 UK "The Early Stuff - The UA Years" CD EMI - CDP 7986022
  • 1992 UK "The Early Stuff - The UA Years" MC EMI - TCGO 2031
  • 1992 Germany "Concrete/13th Floor Madness" 2xCD Line - LICD 9.21197
  • 1993 UK "You Us It!" CD Anagram - CD GRAM 71
  • 1997 UK "You Us It!" CD Anagram - CD PUNK 92 (Sticker on cover)
  • 1994 UK "The Cellblock Tapes" CD Step-1 - STEP CD 045 (Split release: Slaughter And The Dogs)
  • 1995 UK "Live And Loud" CD Step-1 - STEP CD 053 (Split release: Sham 69)
  • 2001 UK "Live And Loud" CD Step-1 - STEP CD 053 (Split release: Sham 69. Re-release with different artwork)
  • 1996 Germany "Scandal In The City" CD Line - 9.01326
  • 1996 UK "The Albion Punk Years" CD Anagram - CD PUNK 78
  • 1997 UK "Takeover" CD Get Back - GBR 010 CD
  • 2005 Poland "Takeover" CD Noise Annoys - NOISE 055
  • 1997 UK "Emergency" CD Receiver - RRCD 245
  • 1998 USA "Homicide - The Best Of" CD Cleopatra - CLP 0178-2
  • 1998 UK "Slam!" CD Overground - OVER 84 CD
  • 1999 UK "Dancing In The Wrong Shoes" CD Receiver - RRCD 266
  • 2001 UK "English Wipeout" CD Overground - OVER 90 VP CD
  • 2001 UK "The Punk Singles 1977-1980" CD Captain Oi! - AHOY CD 176
  • 2002 UK "The Biggest Tour In Sport/The Biggest Prize In Sport" CD Captain Oi! - AHOY CD 207
  • 2003 UK "Outburst!" CD Overground - OVER 95 VP CD
  • 2003 UK "999/Separates" CD EMI - 584 1232
  • 2005 Italy "Live At The Nashville 1979" LP Get Back - GET 143 (Sticker from shrinkwrap)
  • 1997 UK "Live At The Nashville 1979" CD Anagram - CD PUNK 93
  • 2007 UK "Nasty Tales" CD Secret - CRIDE 69 (Sticker on cover)
  • 2007 Czech Republic "Death In Soho" LP Papagajuv Hlasatel - PH 083 (Printed insert. Yellow vinyl. 999 cloth bag included)
  • 2007 Czech Republic "Death In Soho" LP Papagajuv Hlasatel - PH 083 (Printed insert. Black vinyl)
  • 2007 UK "Death In Soho" CD Overground - OVER 119 VP CD
  • 2007 USA "Gimme The World" 7" Dr. Strange - 7333301/2 (Black vinyl. Patch included)
  • 2007 USA "Gimme The World" 7" Dr. Strange - 7333301/2 (Splatter vinyl. Patch included)
  • 2007 USA "Gimme The World" 7" Dr. Strange - 7333301/2 (So-called Test Pressing (Test Pressing made to be sold))
  • 2009 USA "Gimme The World" 7" Dr. Strange - 7333301/2 (Black vinyl. Folded sleeve. Limited numbered tour edition of 300 copies)
  • 2009 USA "Live Homicide" CD Airline - AIR-CD-0220

Release, promotion, and marketing

[edit]
  • 1979 release
  • Singles
  • Spring 1980: Labritain returns after injury.
  • Following tours
Singles
  • "Found Out Too Late" / "Lie Lie Lie" (September 1979, Radar Records) # 69
  • "Trouble" / "Make A Fool Of You" (January 1980, Polydor)
  • "Hollywood" / "Boiler" (April 1980, Polydor)


Artist: 999
Title: Found Out Too Late
Type: Single
Entered chart on 27/10/1979 at #69
Most recent chart entry on 03/11/1979 at #75
Chart Appearances: 2
Highest Position: 69

Found Out Too Late Ariola 09.1979
Boys In The Gang Albion 1980
Trouble Polydor 1980
RYM
Found Out Too Late / Lie, Lie, Lie [p] September 1979 Vinyl 7" Radar / ADA 46 United Kingdom
Found Out Too Late / Lie, Lie, Lie Promo 1979 Vinyl 7" Radar / ADA 46 United Kingdom
Found Out Too Late / Lie, Lie, Lie 1979 Vinyl 7" Ariola / 101 006-100 Germany
Found Out Too Late / Lie, Lie, Lie Limited Edition, Promo 1979 Vinyl 7" Radar / ADA 46 United Kingdom

Hollywood / Hollywood [p] Promo 1980 Vinyl 7" Polydor / PD 2076 United States

Trouble / Made a Fool of You [p] 45 rpm January 18, 1980 Vinyl 7" Polydor / POSP 99 United Kingdom
Trouble / Made a Fool of You 1980 Vinyl 7" Polydor / 2059 199 Australia
Trouble / Made a Fool of You 1980 Vinyl 7" Polydor / 2059 199 Portugal

Boys in the Gang / Brent Cross [p] March 1980 Vinyl 7" Albion / 101 734 Germany
Boys in the Gang / Brent Cross 1980 Vinyl 7" Ariola / 101 734-100 Austria
Discogs
Found Out Too Late ‎(7", Single) Radar Records (5) ADA 46 UK 28 Sep 1979
Found Out Too Late ‎(7", Single) Ariola, Ariola, Albion Records 101 006, 101 006-100 Germany 1979
Found Out Too Late ‎(7", Single, Ltd) Radar Records (5) ADA 46 UK 28 Sep 1979

Boys In The Gang / Brent Cross ‎(7") Albion Records 101 734 Austria 1980
Boys In The Gang / Brent Cross ‎(7", Single) Albion Records, Albion Records 101 734, 101 734 - 100 Germany 1980

Trouble / Made A Fool Of You ‎(7", Single) Polydor POSP 99 UK 1980
Trouble / Made A Fool Of You ‎(7", Single) Albion Records 6198 317 UK 1980
Trouble / Made A Fool Of You ‎(7", Single) Polydor 2059 199 Portugal 1980

Hollywood‎ (7", Promo) Polydor PD 2076 US 1980

Musical style, writing, and composition

[edit]

Comments from: http://www.nineninenine.net/albums/biggestprizeinsport.htm#comments

The following notes were taken from the liner notes inside the Anagram CD (reproduced here with absolutely no permission whatsoever)

Boys In the Gang

Good old Ed Case thumpin' the tubs for the first time 'cos poor Pablo broke his arm. Ed was only 17 and driving vans for a living. He did his first gig with us in Germany without a rehearsal 'coz he was in the Southall Crew (our boys and girls) anf knew all the songs by heart. His first gig was at the S.O.36 club in Berlin in front of 2,000 people. He played great and when I told the audience he was only 17 and joined yesterday with no rehearsal they clapped and cheared him for about 10 minutes solid. He never went back to driving vans again.

Inside Out

Life on the street in 1980 feeling a bit paranoid and screwed up etc. Did the community care? Who wasn't inside out?

Trouble

Saturday night, you're out, the band's playing, anything could happen and it usually did. 'Always looking over yer shoulder' to this shankin', skatellite, sound.

So Long

Guy waiting for his train.

Fun Thing

Guy having fun - Jon and I hopping in unison across the stage together!

Biggest Prize In Sport

Well you can't help it if you wake up in the morning with a hard on can you? Trust them to take the title literally and use it as the theme music for the International Windsurf Championships.

Hollywood

Our first trip to Hollywood, USA - a New Wave Judith Chalmers holiday whistle stop tour which blew a few illusions.

Stranger

An existential 999 - eh what! 999

Stop! Stop!

Stop!

English Wipeout

Most Top Rank establishments throughout the country were completely trashed after the gigs and the managers found out that 999 and it's audience were absolutely nothing like the Rubettes and their audience.

Shake

Shakin' all over.

Boiler

Ode to transsexual shemales in Detroit

Made A Fool Of You

Penned by Jon 'The Nail' Watson, a good bloke to have in a tight spot. He once save dour bacon at the Lafayette Club, Wolverhamption, by fearlessly putting himself and his bass between between us and an audience intent on beating the shit out of us.

Found Out Too Late

Recorded overnight between bouts of mammoth world touring.

Lie Lie Lie

What can I say. Some people do and some people don't. Guy and I wrote this after a good session in a pub in Streatham.

Artwork and packaging

[edit]

Design [Front Cover] – Malcolm McGarrett

Touring

[edit]
USA 1980
  • Mar 8 1980 999 at Santa Monica Civic Auditorium, Santa Monica, CA, USA Artist: 999, Venue: Santa Monica Civic Auditorium, Santa Monica, CA, USA
  • Mar 10 1980 999 at Keystone, Berkeley, CA, USA Artist: 999, Venue: Keystone, Berkeley, CA, USA
  • Apr 24 1980 999 at The Pier, Raleigh, NC, USA Artist: 999, Tour: Biggest Tour in Sport, Venue: The Pier, Raleigh, NC, USA
  • Apr 28 1980 999 at The Agora, Tampa, FL, USA Artist: 999, Tour: Biggest Tour in Sport, Venue: The Agora, Tampa, FL, USA
  • Apr 29 1980 999 at Agora Ballroom, Hallandale Beach, FL, USA Artist: 999, Tour: Biggest Tour in Sport, Venue: Agora Ballroom, Hallandale Beach, FL, USA

Critical reception

[edit]
Professional ratings
Review scores
SourceRating
Allmusic[2]
AllMusic

Review by Steve "Spaz" Schnee

After two terrific albums with United Artists, the boys in 999 signed a deal with Polydor and released what is now considered as their finest full length LP, "The Biggest Prize In Sport". While still a 'punk' band, 999 were born during the pub scene and had more meat on their musical bones than most punks, and instead of turning away from their punk sound, they simply refined it. Upon first listening to this album, many folks were amazed to find out that 999 were a great rock n roll band, punk or no punk. The edges are still there, but they are more well-rounded this time out thanks to producer Vic Maile. The anthemic "Boys In The Gang" starts off the set in style (but 999 always knew how to kickstart an album). "Inside Out", with Guy Days' twisted guitar riff, picks up the pace. Although "Trouble" slows things down with it's reggae groove, it's such a great change of pace (Nick Cash's wail sounds similar to the Specials' Terry Hall on this track). "Fun Thing" has a great little hook and a powerful guitar solo that will grab you by the balls. "Hollywood", about their first trip to California, received solid airplay in the U.S., and has remained a 999 classic ever since. "Stop! Stop!" is a bouncy little bubblegum punk nugget. Practically every track a classic, Anagram's 1995 reissue adds three bonus trax, making this a must have for anyone interested in the punk and new wave scene of the late '70s and early '80s.

Ira
  • Robbins, Ira. "999". Trouser Press.

The Biggest Prize in Sport teamed 999 (temporarily a five-piece, having added a second drummer to aid the injured Pablo Labritain) with producer Vic Maile, resulting in a disc that is trebly and lifeless, except for the poppy title track, which sounds like an East End Ramones.
Hoping to stir up some domestic interest, 999's American record company issued a six-song mini-album, The Biggest Tour in Sport, recorded live in 1980 in the States. The sound's good and hot; selections include "Homicide," "Emergency" and "Feelin' Alright with the Crew."

Accolades

[edit]

999 ‎– The Biggest Tour In Sport
Genre: Rock
Style: New Wave, Punk
Year: 1980
Label: Polydor ‎– PD-1-6307
Format: Vinyl, LP, Mini-Album
Country: US
Label: Albion Records ‎– 203 235-241, Albion Records ‎– 203 235
Format: Vinyl, LP, Mini-Album
Country: Germany
Label: Albion Records ‎– ALB 999
Format: Vinyl, LP, Mini-Album
Country: Norway
Released: 1980

Tracklist

A Homicide 4:08

B1 Feelin' Alright With The Crew 3:39
B2 Inside Out 2:09
B3 Titanic Reaction 3:16
B4 Emergency 2:44
B5 Boys In The Gang 2:50

Companies etc
Distributed By – Ariola
Record Company – Ariola Eurodisc GmbH
Phonographic Copyright (p) – Albion Records Ltd.
Printed By – Mohndruck Graphische Betriebe GmbH

Credits
Design – Caramel Crunch
Mixed By, Producer – Vic Maile
Photography By – Pablo Labritian
Written-By – Guy Days, Nick Cash

Notes
Recorded live.

Versions
The Biggest Tour in Sport [p] 1980 LP, MiniAlbum, Vinyl 12" Polydor PD-1-6307 United States
The Biggest Tour in Sport Live 1980 LP, MiniAlbum, Vinyl 12" Ariola 203 235 (RYM)/Albion Records, Albion Records 203 235-241, 203 235 (DGS) Germany
The Biggest Tour in Sport Live 1980 LP, MiniAlbum, Vinyl 12" Albion ALB 999 Sweden (RYM)/Norway (DGS)


The Biggest Tour in Sport / The Biggest Prize in Sport [p] 2002 CD Captain Oi! / AHOY CD 207


999 - The Biggest Tour In Sport/The Biggest Prize In Sport
Label: Captain Oi! ‎– AHOY CD 207
Format: CD, Compilation
Country: UK
Released: 2002
Genre: Rock
Style: New Wave, Punk

Tracklist

The Biggest Tour In Sport
1 Homicide 4:08
2 Feelin' Alright With The Crew 3:39
3 Inside Out 2:09
4 Titanic Reaction 3:16
5 Emergency 2:44
6 Boys In The Gang 2:50

Bonus Singles
7 Made A Fool Of You (Written-By – Watson) 3:15
8 Found Out Too Late 3:38
9 Lie Lie Lie 2:57

The Biggest Prize In Sport
10 Boys In The Gang 2:44
11 Inside Out 2:01
12 Trouble 2:31
13 So Long 2:43
14 Fun Thing 3:34
15 The Biggest Prize In Sport (Written-By – Watson) 2:59
16 Hollywood 3:00
17 Stranger 2:12
18 Stop!Stop! 2:03
19 English Wipeout 3:26
20 Shake 2:24
21 Boiler (Written-By – Watson, Labritain) 3:45

Companies etc
Glass Mastered At – Clear Sound And Vision
Phonographic Copyright (p) – Captain Oi!

Credits
Design – Tim Smith
Liner Notes – Nick Cash
Mastered By – Tim Turan
Written-By – Days (tracks: 1 to 6, 8 to 21), Cash (tracks: 1 to 6, 8 to 21)

Notes
All tracks licensed from 999.

Certifications

[edit]

Theodoros Angelopoulos

[edit]

Greek film director Theo Angelopoulos is one of the most influential and widely respected filmmakers in the world. Angelopoulos's unique cinematic vision... the quintessentially Greek nature of the director's work... 3,000 years of Greek culture and history. Angelopoulos has used cinema to explore the history and individual identities of his culture. With such far-reaching influences as Greek myth, ancient tragedy and epic, Byzantine iconography and ceremony, Greek and Balkan history, modern Greek pop culture including bouzouki music, shadow puppet theater, and the Greek music hall tradition, Angelopoulos emerges as an original "thinker" with the camera, and a distinctive director who is bound to make a lasting contribution to the art form.

In a series of films including The Travelling Players, Voyage to Cythera, Landscape in the Mist, The Suspended Step of the Stork, and most recently in Ulysses' Gaze starring Harvey Keitel (winner of the 1995 Cannes Film Festival Grand Prix), Angelopoulos has developed a remarkable cinematic style, characterized by carefully composed scenes and an enormous number of extended long shots. In an age of ever decreasing attention spans, Angelopoulos offers a cinema of contemplation.


Since 1975, the Greek art film industry has been dominated by the director Theodoros Angelopoulos. He made such masterpieces as The Traveling Players, which shows how a repertory touring group might have responded to the rural province in pre war years and also how the historical theater company took care to negotiate its way into potentially hostile towns. Angelopoulos explored in Alexander the Great (1980) the relation between leadership and dreams of social improvement.[3]

AreA & Demetrio Stratos

[edit]

Luis Bacalov

[edit]

Discography

[edit]

Studio albums

[edit]
  • 1966 Una rosa per tutti (LP CBS 62908; 1967 LP CBS 37494)
  • 1967 Quién sabe? (LP Dischi Parade FPR 312, Intermezzo IMGM 011; 1986 CD Intermezzo, Generalmusic; 1999 CD reissue Alhambra A 8932; 2002 CD reissue GDM Music 7014; 2006 CD reissue King Records KICP 2595)
  • 1967 We Still Kill the Old Way (Original Motion Picture Soundtrack) (LP United Artists; 1980 LP MCA 25039)
  • 1969 Musica per commenti sonori tratta dal film "Il prezzo del potere" (LP CAM PRE 8; 1992 CD reissue (as Il prezzo del potere) CAM CSE 027)
  • 1969 L'amica (LP Fonit Cetra LPP-143)
  • 1971 Lo chiamavano King (LP; 2000 CD Screen Trax CDST 332)
  • 1971 Pitturamusica/Corpopaesaggio (LP; Generalmusic)
  • 1972 Lo chiamavano Mezzogiorno (LP Generalmusic ZSLGE 55493; 1995 CD reissue as A Man Called Noon ("{lang|de|Der mann aus El Paso}}") Alhambra A 8935)
  • 1973 La seduzione (LP {{Fonit Cetra]] LPX 27)
  • 1973 The Summertime Killer (LP Seven Seas Music FML 6; 1998 reissue Good Music GI-3009; 2010 reissue QRSGC01; 2010 CD, RE, RM, Ltd. Quartet)
  • 1975 Desbandes (Soloist: Gato Barbieri) (LP Vista TPL1 1149)
  • 1980 La città delle donne (LP CAM SAG 9104 and Général Music France; 1991 CD reissues CAM 493205-2 – CSE 016; 1993 CD reissue Wave WWCP 7220)
  • 1983 Coup de foudre (LP 803044; 2010 CD reissue QRSCE019)
  • 2010 Coup de foudre (CD, Ltd.; Quartet Records))
  • 1983 L'art d'aimer (LP 803047)
  • 1983 Le jeune marié (LP 803045)
  • 1984 Le juge (LP Général Music France 803062)
  • 1984 Un amour interdit (LP 803071)
  • 1985 Django (1966) (LP Intermezzo IMGM 002; 1994 CD reissue A 8930; 1995 CD reissue KICP 2591; 1996 CD reissue CDST 322; 2007 CD reissue VQCD-10039)
  • 1985 Django (Original Motion Picture Soundtrack) (Intermezzo, Generalmusic)
  • 1985 Le transfuge General Music 803000)
  • 1988 La maschera 244916)
  • 1993 Luis Bacalov Plays Nino Rota (CD; CAM)
  • 1993 Texas 74321108622)
  • 1994 Anni Ribelli 493446-2)
  • 1994 Anni Ribelli (Original Soundtrack) (CD; CAM)
  • 1994 Il postino ("The Postman") (CD 493108-2; 1995 HR-62029; 1996 NANS 055S; 2002 509536-2)
  • 1994 The Postman (Il Postino) (CD; Miramax Records)
  • 1996 Il Vangelo secondo Matteo (Original Soundtrack) (CD, RE, RCA)
  • 1996 L'avvocato delle donne CDL 419)
  • 1996 La tregua 493109-2)
  • 1997 La tregua ("The Truce") (Original Motion Picture Soundtrack) (CD; CAM)
  • 1996 Ilona arriva con la pioggia 493192-2)
  • 1998 Cuori solitari (1969) SP/CR 200019)
  • 1998 Frontera Sur 7243 4 98322)
  • 1998 Polish Wedding 35834)
  • 1999 Milonga OST 142)
  • 1999 Milonga (Original Soundtrack) (CD; RCA)
  • 1999 The Love Letter 09026-63521-2)
  • 1999 Les enfants du siècle 466817)
  • 2000 Il cielo cade 498374-2)
  • 2002 Il consiglio d'Egitto 507739)
  • 2002 Lo scatenato (1967) SP/CR-20025)
  • 2002 L'ultima chance (1975) 7011 1
  • 2003 Sugar Colt 2 issues 1

2003 Sugar Colt KICP 2592) 2003 Sugar Colt GDM CD CLUB 7017)

  • 2003 Sugar Colt (Original Motion Picture Soundtrack) (CD; GDM Music)
  • 2003 Assassination Tango 09026-64023-2)
  • 2003 Il grande duello (1972) RBCP 2306)
  • 2004 Roma bene (1971) SP/CR-20029)
  • 2004 Marcinelle FRT 404)
  • 2005 La meravigliosa avventura di Carlos Gardel (CD 146)
  • 2007 L'oro dei bravados (1970) Verita Note VQCD-10045)
  • 2007 Sea of Dreams (2005) 302 066 849)
  • 2007 Caravaggio CRT 310)
  • 2007 I quattro del Pater Noster (1969) Verita Note VQCD-10057)
  • 2007 I quattro del Pater Noster (Original Soundtrack) (CD, R; Verita Note
  • 2008 A qualsiasi prezzo: Vatican Story (1968) VQCD-10070)
  • 2008 A qualsiasi prezzo (CD; Verita Note)
Collaborations and appearances
  • 1979 Sincretic 1 by Luis Bacalov and Giovanni Tommaso
  • 1980 Ten to Survive by Luis Enríquez Bacalov, Franco Evangelisti, Egisto Macchi, Ennio Morricone, and Nino Rota (LP T 58442)
  • 1997 John Williams Plays the Movies by John Williams SK 63000)
  • 1997 Cinema Serenade by Itzhak Perlman and John Williams SK 63005)
  • 2007 Per amore by Ennio Morricone and Luis Bacalov (Original Motion Picture Soundtrack) (CD, RE, RM; GDM Music)

Live albums

[edit]
  • 1997 Concerto Premio Rota 1996' (CD, RM; CAM)

Compilations

[edit]
  • 1995 A ciascuno il suo (1967) / Una questione d'onore (1965) (Original Soundtracks) (Point Records PRCD 109)
  • 1995 Il grande duello (1973) / Si può fare ... amigo (1972) (Original Soundtracks) (Point Records PRCD 120)
  • 1995 Ricatto alla mala ("The Summertime Killer") (1972) / La polizia è al servizio del cittadino? (19??) (Original Soundtracks) (Point Records PRCD 115)
  • 1995 La più grande rapina del west (1967) / L'oro dei bravados (1970) (Original Soundtracks) (CD, RE, Ltd.; GDM Music)
  • 2001 La più grande rapina del West (1967) / L'oro dei bravados (1970) (Original Soundtracks) (2008)
  • 1996 The Italian Western of Luis Bacalov (Vivi Musica CDS 7014)
  • 1998 Luis Bacalov: Mes films français (493838)
  • 2000 Lo chiamavano King... (1971) / Monta in sella!! Figlio di... / Partirono preti, tornarono... curati (Original Soundtracks) (CD, RM, Ltd. Screen Trax CDST 332)
  • 2004 Fantastico Bacalov! (SP/CR-00013)
  • 2005 L'amica (1969) / Supertestimone (1971) (Original Soundtracks) (3996710)
  • 2010 Lo scatenato (1967) / La bambolona (1968) / La pecora nera (1968) (Original Soundtracks) (Verita Note VQCD 10168)
Collaborations and appearances
  • 1995 Spaghetti Westerns, Volume Two [Various Artists] (32909)
  • 1997 Easy Tempo 3: Further Cinematic Easy Listening Experiences [Various Artists] 1 26
  • 1997 The Mood Mosaic - Volume 1: The Hascisch Party! [Various Artists] (3 issues 23 - 1997 The Mood Mosaic - Volume 1: The Hascisch Party! STONE 9551 21, 1997 The Mood Mosaic - Volume 1: The Hascisch Party! STONE 9551)
  • 1998 Easy Tempo 5: A Slammin' Cinematic Experience [Various Artists] (ET 911 CD)
  • 1998 Appears on: Easy Tempo 8: Cinematica!! Different Musical Horizons [Various Artists] (ET 922 CD)
  • 1998 Sexy Voices [Various Artists] CT/LS 0302 3 6
  • 1998 Beretta 70: Roaring Themes From Thrilling Italian Policefilms 1971-80 [Various Artists] (3 issues 2 48 - 1998 Beretta 70: Roaring Themes From Thrilling Italian Policefilms 1971-80 CDHW 053 2 45, 1998 Beretta 70: Roaring Themes from Thrilling Italian Policefilms 1971-80 CDHW 053)
  • 1999 Appears on: Easy Tempo 4: Kaleidoscopic Collection of Exciting & Diverse Cinematic Themes [Various Artists] (ET 907 CD)
  • 1999 Appears on: Easy Tempo 7: Bikini Beat [Various Artists] 2 26
  • 1999 Appears on: Up !!!!!! The Second [Various Artists] (SCEB 905 CD 3)
  • 2002 Appears on: The Best of the Italian Film Music [Various Artists] (CDDM001)
  • 2003 Appears on: Bossa In Italy [Various Artists] (2029)
  • 2003 Appears on: Kill Bill: Vol. 1 [Various Artists] (7 issues 17 841 - 2003 Kill Bill: Vol. 1 48570-2 16 736, 2003 Kill Bill: Volume 1 9362-48570-2 12, 2003 Kill Bill: Vol. 1 1-48570, 2003 Kill Bill Vol. 1 CDW 48570 1 6, 2003 Kill Bill Vol. 1 9362-48588-2 77, 2003 Kill Bill: Volume 1 CDW 48570 9, 2003 Kill Bill: Volume 1 9362-48570-2)
  • 2004 Appears on: Kill Bill Vol. 2 [Various Artists] (3 issues 7 474 - Kill Bill Vol. 2 9362-48676-2 6 444, Kill Bill: Volume 2 9362-48676-2 23, Kill Bill: Volume 2 48676-2)
  • 2004 Appears on: Keep It Solid Steel [Mr. Scruff] 2004 Keep It Solid Steel ZENCD84)2004 Keep It Solid Steel ZEN84)
  • 2008 Appears on: Varèse Sarabande: A 30th Anniversary Celebration [Various Artists] (302 066 900)

Filmography

[edit]
  • 1963 La noia [The Empty Canvas] Composer: Original Music 1 6
  • 1964 La Congiuntura Composer: Original Music 1
  • 1964 Il vangelo secondo Matteo [The Gospel According to St. Matthew] Composer: Original Music 5 247
  • 1965 Una questione d'onore [A Question of Honour] Composer: Original Music
  • 1965 Questa volta parliamo di uomini [Let's Talk About Men] Composer: Original Music 1
  • 1966 Sugar Colt Composer: Original Music 4
  • 1966 Django [Jango] Composer: Original Music 10 195
  • 1966 El Chuncho, quién sabe? [A Bullet for the General] Composer: Original Music 59
  • 1967 La più grande rapina del west [Halleluja for Django] Composer: Original Music
  • 1967 Lo scatenato Composer: Original Music
  • 1967 A ciascuno il suo [We Still Kill the Old Way] Composer: Original Music 1 28
  • 1968 Tutto per tutto [Copperface] Composer: Original Music
  • 1969 Rebus Composer: Original Music
  • 1969 La morte sull'alta collina [Death on High Mountain] Composer: Original Music
  • 1969 I quattro del pater noster [In the Name of the Father] Composer: Original Music
  • 1969 Il prezzo del potere [The Price of Power] Composer: Original Music 5
  • 1970 Cuori solitari [Lonely Hearts] Composer: Original Music 2
  • 1970 L'oro dei bravados [Chapaqua's Gold] Composer: Original Music
  • 1971 La vittima designata [The Designated Victim] Composer: Original Music 1 11
  • 1971 Lo chiamavano King [His Name Was King] Composer: Original Music 1
  • 1971 Roma bene Composer: Original Music 2
  • 1972 Un verano para matar [Summertime Killer] Composer: Original Music 2
  • 1972 Monta in sella, figlio di...! [Great Treasure Hunt] Composer: Original Music
  • 1972 Milano calibro 9 [Caliber 9] Composer: Original Music 2 75
  • 1972 Si può fare... amigo [It Can Be Done Amigo] Composer: Additional Music 3
  • 1972 Il grande duello [The Grand Duel] Composer: Original Music 10
  • 1973 La polizia è al servizio del cittadino? Composer: Original Music 3
  • 1973 Il Boss [The Boss] Composer: Original Music 36
  • 1973 Partirono preti, tornarono... curati [Halleluja to Vera Cruz] Composer: Original Music 1
  • 1973 The Man Called Noon Composer: Original Music 1
  • 1973 L'ultima chance [Stateline Motel] Composer: Original Music, Conductor 1
  • 1973 La seduzione Composer: Original Music 2
  • 1977 Il poliziotto è marcio [Shoot First, Die Later] Composer: Original Music 3
  • 1975 Colpo in canna [Loaded Guns] Composer: Original Music 3
  • 1975 La città sconvolta: caccia spietata ai rapitori [Kidnap Syndicate] Composer: Original Music 1 10
  • 1976 Gli amici di Nick Hezard Composer: Original Music 5
  • 1976 Gli esecutori [Street People] Screenwriter
  • 1976 l Padroni della città [Mister Scarface] Composer: Original Music 1 16
  • 1976 Il conto è chiuso Composer: Original Music
  • 1977 Diamanti sporchi di sangue [Blood and Diamonds] Composer: Original Music 5
  • 1980 La giacca verde Composer: Original Music 2
  • 1980 La città delle donne [City of Women] Composer: Original Music 111
  • 1983 Ars amandi [The Art of Love] Composer: Original Music
  • 1994 Il postino [The Postman] Composer: Original Music 5 186
  • 1997 La tregua [The Truce] Composer: Original Music 1 14
  • 1998 Polish Wedding Composer: Original Music 6
  • 1999 Panni sporchi Composer: Original Music 4
  • 1999 Les enfants du siècle [Children of the Century] Composer: Original Music 7
  • 2000 Il cielo cade [The Sky Is Falling] Composer: Original Music 4

Bauhaus (band)

[edit]

Goran Bregović

[edit]

Buffalo Gals Back to Skool

[edit]

Note: The lead section requires expansion.

Personnel

[edit]

Buzzcocks

[edit]

Buzzcocks discography

[edit]

[4] [5][6]

Music videos

[edit]

Chitarra Romana

[edit]

"Chitarra Romana" is a stornello in Romanesco (Italian: stornello romanesco) written by Eldo di Lazzaro (1902–1968) in 1934....


  • Chitarra Romana (CLAUDIO VILLA)
  • Gabriella Ferri- Chitarra Romana
  • 13/06/08 JOSE CARRERAS - CHITARRA ROMANA (Di Lazzaro)
  • CHITARRA ROMANA - VLAD MIRITA (Asculta Simte DescOPERA) - 4
  • CHITARRA ROMANA performed by Vlad Mirita and Jinga' Symphony Orchestra, conducted by Daniel Jinga, during Asculta Simte DescOPERA Concert, on 9th ...
  • Connie Francis - Chitarra romana.wmv
  • Luciano Pavarotti. 1987. Chitarra romana. Madison Square Garden. New York
  • Chitarra Romana - Rosana Fratello fisarmonica acordeon accordion musica italiana
  • José Carreras - Chitarra Romana 2008
  • José Carreras Chitarra Romana
  • Chitarra Romana (CLAUDIO VILLA) Matt Morgan sings "Chitarra romana"
  • Lando Fiorini - Chitarra Romana
  • Connie Francis - Chitarra romana (1961)

Lyrics

[edit]

The Clash

[edit]

The Clash personnel

[edit]

This page is a list of the various personnel and line-ups that have been a part of The Clash.

Personnel

[edit]

Members

[edit]

Long-standing supporting musicians

[edit]

Other personnel

[edit]
G'EM
LC
"Clampdown"
S!
CR
CTC


Producers

[edit]

People associated with The Clash

[edit]

See also - [[Notable or frequent contributors to The Clash]]

Associated Acts

[edit]

Timeline

[edit]
Start 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986
Joe Strummer
Mick Jones Nick Sheppard
K. Levene Vince White
Paul Simonon
Terry Chimes Topper Headon Chimes Pete Howard
Album release Vocals and guitar Guitar Bass guitar Drums and percussion

Fully detailed timeline

[edit]
1976
1976
  • Joe Strummer – lead vocals, rhythm guitar
  • Mick Jones – lead guitar, vocals
  • Paul Simonon – bass guitar, backing vocals
  • Terry Chimes – drums, percussion
1976
  • Joe Strummer – lead vocals, rhythm guitar
  • Mick Jones – lead guitar, vocals
  • Paul Simonon – bass guitar, backing vocals
  • Rob Harper – drums, percussion
1977
  • Joe Strummer – lead vocals, rhythm guitar
  • Mick Jones – lead guitar, vocals
  • Paul Simonon – bass guitar, backing vocals
  • Terry Chimes – drums, percussion
1977-1982
  • Joe Strummer – lead vocals, rhythm guitar
  • Mick Jones – lead guitar, vocals
  • Paul Simonon – bass guitar, backing vocals
  • Topper Headon – drums, percussion
1982–1983
  • Joe Strummer – lead vocals, rhythm guitar
  • Mick Jones – lead guitar, vocals
  • Paul Simonon – bass guitar, backing vocals
  • Terry Chimes – drums, percussion
1983
  • Joe Strummer – lead vocals, rhythm guitar
  • Mick Jones – lead guitar, vocals
  • Paul Simonon – bass guitar, backing vocals
  • Pete Howard – drums, percussion
1983-1986
  • Joe Strummer – lead vocals, rhythm guitar
  • Nick Sheppard – lead guitar, backing vocals
  • Vince White – lead guitar
  • Paul Simonon – bass guitar, backing vocals
  • Pete Howard – drums, percussion


Gary Barnacle

[edit]

Overpowered by Funk

[edit]
Releases
{| class=wikitable sortable"
|-
!Year
!Record
!Type
!Label
!Track
!Issue
!Length
|-
...
1982 Rock the Casbah                        US promo EP    A2 Overpowered by Funk
1982 Rock the Casbah                        AR single      B1 Overpowered by Funk
1982 Combat Rock                            Studio          7 Overpowered by Funk                        4:55
1989 Hell W10                               Film            ? Overpowered by Funk (Instrumental)
1991 Clash On Broadway Disc 4: The Outtakes Bootleg        20 Overpowered by Funk
2006 Singles Box                            Compilation 17-05 Overpowered by Funk (Argentinean 7" Promo) 4:53
2013 Sound System Disc 8 Combat Rock        Compilation  8-07 Overpowered by Funk                        4:55
     If Music Could Talk Vol. 2                            11 Overpowered by Funk (New York Remix)
     The Rat Patrol From Ft. Bragg                       1-14 Overpowered by Funk (Demo)                 1:59
     The Rat Patrol From Ft. Bragg                       2-05 Overpowered by Funk (Instrumental)
     The Rat Patrol From Ft. Bragg                       2-13 Overpowered by Funk (No Flushes)

2001 Golden Bullets                        Bootleg
2002 Clash on Broadway 4: The Outakes      Compilation Snotty Snail
2002 Rocker Station                        Bootleg 4 Overpowered by Funk (New York Remix) (Speed Mix)
2002 Rocker Station                        Bootleg 8 Overpowered by Funk (Instrumental)
2003 The Essential Clash                   Video       SMV Enterprises
2003 Rat Patrol from Fort Bragg Nicaragua  Bootleg
2003 Another Combat Rock                   Studio      Darkside Records DSS CD 009
2004 The Collection                        Compilation Epic E3K 92644
2013 Ties on the Line (Demos and Outtakes) Studio      Arkain Filloux              A3 Overpowered by Funk
2013 5 Album Studio Set                    Compilation Columbia                                           4:55
2013 Sound System                          Compilation Columbia 88725460002
     Box Set                                           Music on Vinyl                                     4:55
     Combat Rock: Outtakes                 ‎Bootleg     Love Situation LA21
     The Clash on Broadway Outakes         Bootleg
Clash City Showdown by Chris Knowles (2003)
p. 32

Combat Rock started out as a Clash album with the Ear mobile studio sessions (where ‘Should I Stay’, ‘Know Your Rights’, ‘Long Time Jerk’, and ‘First Night Back in London’ and others were recorded), but once the band returned to Electric Lady the pattern set on Sandinista re-emerged. The bass was handled by Mick, Topper or one of the studio engineers. Tymon Dogg and the Barnacle Brothers contributed heavily and again the fatal mistake was made - Joe not playing guitar.[7]

Compare the demo of ‘Overpowered by Funk’ to its slower, vastly inferior ‘official’ cousin. Of course, the results were skewed by the fact that Mick and Topper were seriously addicted and no real producer was present to provide adult supervision. It’s amazing to me that the Clash were able to record anything at all under these conditions, never mind the gobs of Stoner classics that both Sandinista and CR are lousy with. (I also have serious doubts as to whether the material generally referred as Rat Patrol is actually Mick’s proposed final mix. He might have been out of his mind on drugs then, but I still think that stuff is half-finished rough mixes- most of those vocal takes don’t sound final to me at all).[7]

p. 83

Overpowered by Funk (Hell W10) - Topper and Mick must have done the album version after a quaalude party. Stick with this Ear demo. Great rhythm playing by Joe on it, too.[8]

p. 94

09/24/81 Theatre Mogador - Paris, France[9]

p. 107

The Clash were exhausted physically and creatively by the time they entered the studio for Combat Rock in late ‘81. The Bond’s fiasco had occurred in the spring, Sandinista had seriously damaged their relationship with CBS, Topper Headon was at this point a hopeless junkie, and Bernie Rhodes was playing his warped mind games on the band. Mick and Joe usually settled their creative differences with fights and were exchanging songwriting ideas through intermediaries. In addition, putting out a three record set that explored almost every possible musical direction had left them unsure how to proceed. In spite of this, they had written a new batch of superior material that was premiered in Europe and the UK on their fall tour. The new songs heard in the fall of 81 were; ‘Know Your Rights’, Should I Stay...?’, ‘Radio Clash’, ‘Overpowered by Funk’, ‘Inoculated City’, and ‘Ghetto Defendant’. These are generally the songs considered the strongest of this period with the exception of ‘Rock the Casbah’ and ‘Straight to Hell’, which were written in the studio. Little is known about ‘Beautiful People’, but my guess is that is was not written in the studio, simply because it’s too complex. So with the exception of ‘Casbah’, which again was more or less pre-written by Headon and ‘Straight to Hell’, the strongest songs were premiered on tour in ‘81.[10]

p. 110

…the mix for CR was taken away from Mick and eventually handled by Joe and Glyn Johns. If we use Rat Patrol as a guide, Joe went in and recorded a lot of extra guitar. This is most obvious on ‘Know Your Rights’, ‘Car Jamming’ and ‘Should I Stay’, but I’d imagine that Joe put a lot of guitar on ‘Overpowered by Funk’ as well. It’s been said that Joe didn’t do a lot of playing on the last two albums, and I think that this is a major factor in the lessening of the energy level on those records. Joe wasn’t a guitarist per se, but a weird kind of percussionist and it’s obvious how his playing set the tempo on the songs live.[11]

p. 230

COLLAPSING ONTO THE FINISH LINE

Pablo Guzman expressed bewilderment over the Clash’s split in his old music column in the New York Daily News. He felt that “the Clash were just beginning to hit their stride” when they split. Many people felt the same shock. Wasn’t Combat Rock the unqualified hit album that put the Clash into the big leagues once and for all?[12]

No, Combat Rock was a disaster from the very start.[12]

The story begins in the early Autumn of 1981. Fed up with the band’s drift and stung by the underwhelming performance of Sandinista, Joe wanted to get back to the sound of the Clash, not the sound of an army of studio players. He also wanted to record the album with an 8-track studio. A compromise was reached and the Clash began recording at the Peoples’ Hall in London, using a mobile studio on loan from the Rolling Stones. Most of the more conventional tunes from what was then known as the Rat Patrol sessions were recorded here: ‘Should I Stay’, ‘Inoculated City’, ‘Know Your Rights’, ‘Ghetto Defendant’, and the original ‘Overpowered by Funk’. The initial idea was compromise. Joe told the NME that the Clash were “not trying to ignore anything we’ve heard before but we want to make it our own and all at once in every track.” However, the band had to abandon the sessions for a string of concert dates and when they returned, Mick Jones had a very different idea of how he wanted to make the new record. “He said if we didn’t produce Combat Rock in New York, he wouldn’t be at the sessions, “ Kosmo Vinyl recounted in 1984, “So we cart everything to New York and make the record there. One day there’s an argument and that gets brought up and Mick goes ‘Oh, I didn’t mean it.’ ”[12]

No, he certainly did ‘mean it’. Mick chose New York in general and Electric Lady in particular for what he thought was a very good reason. To explain why, we need to put all of this into perspective.[12]

pp. 233–234

The problem with many of the songs from the Combat Rock era is definition. What the hell are they supposed to be? ‘Car Jamming’, ‘Inoculated City’, ‘Atom Tan’, ‘Midnight to Stevens’ (which hadn’t even made the first cut), ‘Cool Confusion’, ‘Long Time Jerk’, ‘First Night Back in London’ are not fast, not loud, not Reggae, not Rock, not Funk, not hard, not soft. They fall in between every possible gap without strong melodies or performances or even choruses to save them. Mick had told a horrified Joe that “verse and chorus as form are over,” but the preponderance of the CR tracks had proven the inherent weakness of this concept. Mick was trying to appropriate the sounds of Hip Hop and Downtown Funk, but he had no idea how that music was even made. The only convincing Funk song on the album was ‘Casbah’, which was Topper’s baby. All the disco production tricks on the re-recorded ‘Overpowered by Funk’ did nothing but bury a formerly standard Rock number with a funky bassline under a layer of cheesy crud. They had a good Funk song in ‘Radio Clash,’ but they left it off. And that song was lifted straight from ‘Another One Bites the Dust’ to begin with. Sadly, Mick didn't realize that his great strength was based in melody and chord progression. He never had an ear for riffs or syncopations. Watt Roy had come up with the basslines that formed the foundation of the rap tracks on Sandinista. And he also didn’t grow up with Funk, like all those New Yorkers did. It was all new to him, but he was too proud to admit it.[13]

This is Radio Clash

[edit]

"This Is Radio Clash" is a song by the English punk rock band The Clash, released on November 20, 1981 as a non-album single. Influenced by old school hip hop acts from New York City,[14] it is regarded as the first British rap/hip hop song. While it wasn't released on any of their studio albums, it was included in the track listing of their compilations: The Singles, The Story of the Clash, Volume 1, The Essential Clash Singles Box, The Singles (2007), and "Clash on Broadway".

Origins and recording

[edit]
“When we came to the U.S., Mick stumbled upon a music shop in Brooklyn that carried the music of Grand Master Flash and the Furious Five, the Sugar Hill Gang...these groups were radically changing music and they changed everything for us.”[14]

Lyrics and meaning

[edit]

Music and composition

[edit]

"This Is Radio Clash", like their previous single "The Magnificent Seven", is a dub reggae, rap, punk-funk song that was influenced by old school hip hop acts from New York City, like the Sugarhill Gang and Grandmaster Flash & The Furious Five.[14]

In fact, "The Magnificent Seven" is rightly noted as "the first British rap song" by esteemed British rock critic Chris Salewicz; likewise, American critic Eric Schafer cites "This is Radio Clash"/"Radio Clash" as the first ever British hip hop.

Release and reception

[edit]

Esteemed American critic Eric Schafer notes, “It is a magnificent, daring, challenging record that was years ahead of its time; one of the great rock records of the 1980s, it has never been given its just credit. Twenty-eight years after its debut, were it released today it would still burn up the radio.”

Music video

[edit]

The music video for "This Is Radio Calsh" was directed by Don Letts, who photographed the band during their stay at ....

Live performances

[edit]

Radio Clash

[edit]

The B-side of the "This Is Radio Clash" single is unique in the history of rock music in that the music is the same as the A-side (with only slight remix changes) and the theme of the lyrics is the same, yet the actual lyrics are in fact different. Never before or since has this been done; it demonstrates the lyrical versatility of Joe Strummer. The Clash stated at the time that they intended the songs to be a single entity, but when "This is Radio Clash" ran to more than eight minutes in length, they decided to split the master in half and make two songs rather than edit the song.

The similarities of the titles and the recordings has led to quite a bit of confusion not only by fans but by record companies as well. The two songs are intended to be heard back to back, but this has never been accomplished on CD. In compilations, the A-side was included on "Clash on Broadway" but not the B-side. On the remastered version of the Super Black Market Clash CD, which assembles Clash B-sides, remixes and rarities, the B-side "Radio Clash" is included, but not the A-Side. When the 2003 collection The Essential Clash was released the B-side was listed but in fact it is the A-side song that is on the CD. Simply, the proper way to listen to the songs is to have them back to back on your digital source.


Radio Five

[edit]

"Radio Five is the version...

Formats and track listing

[edit]

The single was released and reissued several times, in several formats with different covers.[16][17]

Year B-side Format Label Country Note
1982 CBS logo etched into vinyl 45 rpm 7" vinyl Epic ENR-03571 USA One Sided Single - Epic's Get the Hit - Special Low Price.
1982 "Cool Confusion" 45 rpm 12" vinyl Epic 07 5P-223 JP —

Singles

  • 1981 This Is Radio Clash 12" Vinyl Epic XSM 168889
  • 1981 This Is Radio Clash / Radio Clash United Kingdom 7" Vinyl CBS 1797
  • 1981 This Is Radio Clash / Radio Clash United Kingdom 7" Vinyl CBS CBS A1797

Title, Format Label Cat# Country Year

  • This Is Radio Clash (12", Maxi) CBS A13 1797 UK 1981
  • This Is Radio Clash (7", Single) CBS, CBS A 1797, CBSA 1797 UK 1981
  • This Is Radio Clash (7", Single) CBS Records Australia ES 700 Australia 1981
  • This Is Radio Clash (7", Single) CBS CBS A1797 Netherlands 1981

Clash, The / Beppe Starnazza E I Vortici - This Is Radio Clash / Il Dritto Di Chicago

  • Label: CBS
  • Catalog#: JC 15060
  • Format: Vinyl, 7", Promo
  • Country: Italy
  • Released: 1981
  • Genre: Pop, Rock
  • Style:
  • Notes: Not For Sale - Juke Box Only

Tracklisting:

  • A Clash, The This Is Radio Clash (4:08)
  • B Beppe Starnazza E I Vortici Il Dritto Di Chicago (3:14)

Track listing (12" single)

[edit]

Released in Canada with a cover sticker (12EXP 02622).

Side one

  1. "This Is Radio Clash — 4:10 /Radio Clash" — 4:10

Side two

  1. "Outside Broadcast/Radio Five — 11:07

Radio Clash (EP)

[edit]
Untitled

EPs

  • 1981 Radio Clash [33 rpm] Netherlands 12" Vinyl CBS CBS A-12.1797
  • 1981 Radio Clash [33 rpm] 12" Vinyl CBS 12EXP 02662
  • 1981 This is Radio Clash/Radio Clash / Outside Broadcast/Radio Five [33 rpm] United States 12" Vinyl Epic 49-02662
  • 1981 Radio Clash 12" Vinyl Columbia
  • This Is Radio Clash (12") CBS 12EXP 02662 Canada 1981
  • This Is Radio Clash (12") Epic 49 02662 US 1981
  • This Is Radio Clash (12") CBS CBSA 12.1797 Netherlands 1981

Track listing

[edit]
Side one
  1. "This Is Radio Clash" – 4:07
  2. "Radio Clash" – 4:08
Side two
  1. "Outside Broadcast" – 7:20
  2. "Radio Five" – 3:36

Various - Disco Not Disco 2

  • Label: Strut
  • Catalog#: STRUTLP 020
  • Format: 2 x Vinyl, LP, Compilation
  • Country: UK
  • Released: 2002
  • Genre: Electronic, Funk / Soul, Rock
  • Style: Leftfield, Italo-Disco, Electro, Disco
  • Credits: Artwork By [Sleeve Design] - Matt Thame
  • Compiled By - Joey Negro , Sean P.
  • Mastered By - Duncan Cowell
  • Mastered By [Vinyl Cut] - Martin Giles
  • Other [Concept] - Dave Lee , Sean P.
  • Other [Sleevenotes] - Quinton Scott , Sean P.
  • Notes: Subtitle on front sleeve:

Leftfield disco classics from the New York underground Mastered at Soundmastering. Vinyl cut at Alchemy. This compilation (P) (C) 2002 Strut.

  • Manufactured in the EU.
  • Distributed by 4AM via Pinnacle.
  • Barcode: 6 75865 00201 0
  • D3 Clash, The This Is Radio Clash
    • Written-By, Producer - Clash, The

Various - Mixed Masters - The Compilation - Volume 4

  • Label: CBS
  • Catalog#: 463454 2
  • Format: CD, Compilation
  • Country: Netherlands
  • Released: 1989
  • Genre: Electronic, Funk / Soul, Pop
  • Style: Synth-pop, Funk, Disco
  • Notes: Track 7 (P) 1980, 1981 CBS Records
  • 7 Clash, The This Is Radio Clash (8:19)

Various - Disco Not Disco 2

  • Label: Strut
  • Catalog#: STRUTCD 020
  • Format: CD
  • Country: UK
  • Released: 2001
  • Genre: Electronic
  • Style: Leftfield, Disco
  • Notes: Subtitle: "Leftfield Disco Classics From The New York Underground."
  • Concept and compilation: Sean P. and Dave Lee (aka Joey Negro).
  • Sleevenotes: Sean P. and Quinton Scott.
  • Design by Matt Thame.
  • 11 Clash, The This is Radio Clash (4:11)
    • Arranged By - Jeff Schack

Various - Riow Arai's Graffiti Edit Style

  • Label: Spotlight Records (3)
  • Catalog#: SPOTLIGHT Mixtape vol. 7
  • Format: Cassette, Mixed
  • Country: Japan
  • Released: 2003
  • Genre: Electronic
  • Style: Electro, Synth-pop
  • Credits: DJ Mix - Riow Arai
  • Notes: All tracks mixed and edited by Riow Arai
  • B13 Clash, The This Is Radio Clash

Various - I Love Tecno Pop Volumen 2

  • Label: Blanco Y Negro (2)
  • Catalog#: MXCD 1203
  • Format: 3 x CD, Compilation
  • Country: Spain
  • Released:
  • Genre: Electronic
  • Style: Italo-Disco, Electro, Synth-pop
  • 2-11 Clash, The This Is Radio Clash (4:10)

The Vanilla Tapes

[edit]

The Vanilla Tapes were demo tracks recorded in 1979 by the English punk band The Clash -- in essence, an early version of their album London Calling (although the track Remote Control was a song from the band's first album). Roadie Johnny Green was to deliver the tapes to the band's new producer, Guy Stevens; Green fell asleep on the train ride to the studio. Waking up at the station where he was to disembark, he panicked, and in his rush left the tapes behind. After that, the tapes were considered lost until March 2004, when Clash guitarist Mick Jones was moving boxes and came upon a copy of the tape.

The newly discovered Vanilla Tapes were released as a bonus disc when London Calling was remastered and re-issued as the Legacy Edition in September 2004. According to the booklet, there were 37 tracks on the tapes; only 21 were included on the CD.

Track listing

[edit]
  1. "Hateful"
  2. "Rudie Can't Fail"
  3. "Paul's Tune" (Paul Simonon)
  4. "I'm Not Down"
  5. "Four Horsemen"
  6. "Koka Kola, Advertising & Cocaine"
  7. "Death or Glory"
  8. "Lover's Rock"
  9. "Lonesome Me" (The Clash)
  10. "The Police Walked In 4 Jazz"
  11. "Lost in the Supermarket"
  12. "Up-Toon" (Instrumental)
  13. "Walking the Slidewalk" (The Clash)
  14. "Where You Gonna Go (Soweto)" (The Clash)
  15. "The Man in Me" (Bob Dylan)
  16. "Remote Control"
  17. "Working and Waiting"
  18. "Heart and Mind" (The Clash)
  19. "Brand New Cadillac" (Vince Taylor)
  20. "London Calling"
  21. "Revolution Rock" (J. Edwards, D. Ray)


Wrong 'Em Boyo

[edit]

"Wrong 'Em Boyo" is a song written by Clive Alphonso for his Jamaican rocksteady group The Rulers.

The Clash did a ska version that features on their 1979 album London Calling, in which Stagger Lee is explicitly the hero and Billy DeLion the villain.

Buck-O-Nine, an American ska punk band formed in San Diego, California, in 1991, did a cover of The Clash version of this song on their 1995 album Barfly.


The Clash discography

[edit]
  • Category:FL-Class Discography articles
  • Audioslave discography
  • Faith No More discography
  • allmusic: The Clash: DVDs & Videos
    • 1980 Rude Boy [DVD] Sony Music Distribution
    • 1991 This Is Video Clash Image Entertainment
    • 2002 Westway to the World Smv
    • 2003 The Essential Clash [DVD] Sony Music Distribution
    • 2006 Punk Icons Classic Rock Legends Ltd.
    • 2007 The Up Close and Personal Hurricane Records
    • 2007 Music in Review Classic Rock Legends Ltd.
    • 2007 Videography Classic Rock Legends Ltd.
    • 2008 Revolution Rocks Sony Music Distribution
    • 2008 Tory Crimes and Other Tales Classic Rock Legends Ltd.
    • 2008 Live: Revolution Rock EPC
    • 2009 Live in Paris Pickwick
    • 2009 10-Minute Teacher: Should I Stay or Should I Go Bosworth
  • rateyourmusic: The Clash: Video
    • 1980 Rude Boy 6 issues
    • 1986 This Is Video Clash 2 issues
    • 2002 Westway to the World 3 issues
    • 2003 The Essential Clash 2 issues
    • 2005 Bored in the USA Apollo 830528
    • 2006 Up Close And Personal (+Book) UCAP 2289
    • 2007 Music in Review CRP 2369
    • 2008 The Clash in Tokyo MP42103
    • 2008 Revolution Rock 2 issues
    • 2009 Live in Paris 1980 DAVID1474

Tribute albums

[edit]
Year Title
1991 The Clash Tribute: The Never Ending Story (Part 1)

 Artist: Various Artists
 Released:
 Recorded:
 Genre:
 Format: CD and LP
 Length:
 Label: Emotions Records
 Producer:
 Reviews:

  • ???
1999 Burning London: The Clash Tribute

 Artist: Various Artists
 Released: 16 March 1999
 Recorded: 1999
 Genre: Rock
 Format: CD
 Length: ???
 Label: Sony
 Producer: Wayne Connolly, John Doe, Greg Dulli, Stephan Jenkins, David Kahne, Moby, Scotch Ralston, Ralph Sall
 Reviews:

2002 City Rockers: A Tribute To The Clash
Various artists. Raucous Records.
This Is Rockabilly Clash
Various artists.

 Artist: Various Artists
 Released: 2002
 Recorded: 2002
 Genre: Rockabilly
 Format: CD
 Length: ???
 Label: Raucous Records (RAUCD 131)
 Producer: ???
 Reviews: ???

2003 White Riot - A Tribute To The Clash

 Artist: Various Artists
 Released: December 2003
 Recorded: 2003
 Genre: Rock
 Format: CD
 Length: ???
 Label: Uncut Magazine
 Producer: ???
 Reviews:

  • ???
2004 Charlie Does Surf (A Tribute To The Clash)
Various artists. Rickshaw Records.
2007 The Sandinista! Project (A Tribute To The Clash)[18][19][20]
Various artists. 00:02:59 Records. Recorded in 2004.
2009 Shatter The Hotel: A Dub Inspired Tribute To Joe Strummer[21][22]
Various artists.

List of awards and nominations received by The Clash

[edit]


List of The Clash concerts

[edit]


List of The Clash songs

[edit]

The Clash RIAA

[edit]

RIAA SEARCH RESULTS FOR THE CLASH

Moved to: WPClash/List of related articles: The Clash RIAA

Abraham Coles

[edit]

http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=47042856

  • Birth: Dec. 26, 1813
  • Scotch Plains
  • Union County
  • New Jersey, USA
  • Death: May 3, 1891
  • California, USA

Abraham Coles was born 1813 in Scotch Plains, Union County, NJ, the 4th of 5 known surviving children (2 boys/3 girls) born to the prominent Dennis Coles and his wife, Katrina (Catherine) Van Duersen of Newburgh, NY, a descendant of Everardus Bogardus, the distinguished Dutch domine, and the famous Anneke Jans, his wife.

The family of Coles is of English origin, originally written as "Cole". In America the history of the family begins with that of the settlement of Massachusetts Bay Colony, while on the maternal side its history is traced from the early settlement of New Amsterdam. James Cole, the Puritan, and founder of the family in America, arrived at Plymouth, Massachusetts, between 1620 and 1630. He became a proprietor of land at Plymouth, a part of which was called "Cole's Hill," a bluff of land about twenty feet high, at the foot of which is the famous Plymouth Rock. The name James is found with great frequency in the Cole generations, and the original settler so named his eldest son. Various members of the family left Massachusetts and made a settlement at Oyster Bay, Long Island, about 1665. In 1688 the family became established at Scotch Plains, New Jersey (then called East Jersey), and remained there for many generations.

Abraham Coles was son of Dennis, and grandson of James Coles and Elizabeth Frazee; gr-grandson of Sen. William Coles & Betsey Dennis; and gr-gr grandson of James Coles, Jr., son of the patriarch, James Coles Sr.

Abraham's father, Dennis Coles, was a man of great culture, skilled in mathematics, a lover of polite literature, a polished speaker, member of the state legislature, a charming reader and accomplished writer. He married in 1802 in Newburgh, NY where he established a newspaper "Recorder of the Times" for 3 years. A financial success, it ran under other names until 1876. At the solicitation of his parents, he sold the business in 1806 and came back to Scotch Plains.

Until the age of 12, Abraham Coles was educated by his parents, and in 1828, at age 15, he became a clerk in a New York dry goods store. By 1830, a learned student, he was teaching Latin and Greek at Plainfleld, NJ for a few months, and in 1831 began to study law, which profession he subsequently relinquished as his vocation in life for the study of medicine.

He attended the University of the City of New York, and the College of Physicians and Surgeons, New York. In 1835, he received his M.D. degree from Jefferson Medical College, Philadelphia, and the following year began his practice in Newark, NJ.

In 1842, the 29-year old physician married 25-year old Caroline Elizabeth Ackerman, eldest daughter of Jonathan Combs and Maria (Smith) Ackerman of New Brunswick, NJ. The marriage resulted in the birth of two children: Jonathan Ackerman Coles (1843-1926) and Emilie Smith Coles (1845-1919). Sadly, the marriage was short lived as his lovely bride died just a few months after the birth of their daughter, passing in 1845 at age 28. The 32-year old widower never remarried.

He several times visited Europe for study and travel, giving special attention to languages, both ancient and modern. He was one of the founders of the Newark library and of the New Jersey Historical Society, and a member of the Newark Board of Education and other organizations. He owned a valuable collection of books, paintings and statuary gathered during his lifetime.

A colossal bronze bust of Abraham Coles by J. Q. A. Ward, with its pedestal of stones quarried for the purpose in Galilee, Bethlehem, Jerusalem, and on the Mount of Olives, Palestine, was unveiled in Washington Park, Newark, N.J., July 5, 1897. (Shown here.) The pedestal is founded on a rock weighing about seven tons, which was transported with much difficulty from a grove near the landing place of the pilgrim fathers at Plymouth, Mass.

He received from Rutgers college the degree of A.M.; from Lewisburg University that of Ph.D. in 1860; and from the College of New Jersey, Princeton, that of LL.D. in 1871. In 1847 appeared in the Newark Daily Advertiser his first translation of the "Dies Irae." This was extensively copied and made him famous throughout the literary world. In 1859 he published a volume comprising thirteen original translations of Dies Irae (6th edition, 1892), to which he subsequently added five other translations. He also published a translation of Stabat Mater Dolorosa (1865, 3d edition, 1892); a translation of Stabat Mater Speciosa (1867, 2d edition, 1892); Old Gems in Yew Settings (1866, 3d edition, 1892); Man, the Microcosm (1866, 5th edition, 1892); Thc Evangel (1874, 2d edition, 1884); The Light of the World (1884); and A -Veio Rendering of the Hebrew Psalms Into English Verse (1887). He was also a published poet and the author of many patriotic and devotional hymns.

Though now almost forgotten, except for his name appearing on several monuments in Newark, NJ, Dr. Abraham Coles was in his time, regarded as one of the most accomplished practitioners of Newark, enjoying the highest respect of his brethern in the profession, and of his fellow citizens generally. As some evidence of this, he was for twelve years a member of the Board of Education of the City of Newark, and in 1866 was President of the Medical Society of New Jersey.

Dr. Coles traveled the world, often with his children. His son, J. Ackerman Coles, later joined the medical profession in practice with him, and became the editor of new editions of his father's works.

Dr. Coles died while traveling to the West Coast with his children, taking his last breath at the Hotel Del Monte, near Monterey, California, on May 3, 1891. His body was returned to New Jersey and laid to rest next to his beloved Caroline.

Both his children lived long lives, though neither married, and so the line of Abraham Coles died with the passing of his son on December 26, 1926.


Family links:

Spouse:

  • Caroline Elizabeth Ackerman Coles (1817 - 1845)

Children:

  • Jonathan Ackerman Coles (1843 - 1926)
  • Emilie Smith Coles (1845 - 1919)

Burial: Willow Grove Cemetery, New Brunswick, Middlesex County, New Jersey, USA

Created by: pbfries Record added: Jan 24, 2010 Find A Grave Memorial# 47042856

Abraham Coles

  • Birth - Death : 1813 - 1891
  • Country : USA
  • Medical School : Jefferson Medical College
  • Poetry : The Microcosm, 1866
  • Stabat Ma­ter Do­lo­ro­sa, 1865
  • Stabat Ma­ter Spe­ci­o­sa, 1866
  • Old Gems in New Set­tings, 1866
  • The Mi­cro­cosm, 1866, 1881
  • The Evan­gel in Verse, 1874
  • The Light of the World, 1884

http://www.medindia.net/art-literature/abraham-coles-65.htm


  • Dies Iræ: In Thirteen Original Versions - Manuel Fernández Alvarez, Abraham Coles , Thomas
    • Publisher: D. Appleton and co.
    • Year: 1861
  • The Microcosm And Other Poems
    • Publisher: D. Appleton and Co.
    • Year: 1881
  • The Life and Teachings of Our Lord in Verse: Being a Complete Harmonized Exposition of the Four ... - Abraham Coles , Emilie S. Coles
    • Publisher: D. Appleton
    • Year: 1884
  • A New Rendering of the Hebrew Psalms Into English Verse: With Notes, Critical, Historical and ...
    • Publisher: D. Appleton
    • Year: 1887
  • Biographical Sketch, Memorial Tributes, Selections from His ... - Abraham Coles, Ezra Mundy Hunt
    • Publisher: D. Appleton & company
    • Year: 1892

Hugh Cornwell's Discography

[edit]

Discography

[edit]

Hugh Cornwell's full discography, including his work with The Stranglers, can be found here [23]

For recordings made with the Stranglers, please see the Stranglers discography.

Solo studio albums

Other albums

With ???

[edit]
Year Album
1979 Nosferatu
  • Musicians: Hugh Cornwell, Robert Williams, Ian Underwood, David Walldroop, Mark Mothersbaugh, Bob Mothersbaugh, and Duncan Poundcake (Ian Dury)
  • Recorded Dec 1978 - Jan 1979 & March - April 1979.
  • Label: UA UAG 30214 on LP and cassette
  • CD re-issues:
    • EMI 1992 CDP7 99104 2
    • EastWorld, PHD 1998 EWO001CD (includes instrumental Losers In A Lost Land)>[24]
1988 Wolf
  • Musicians: Hugh Cornwell, Grahame Broad, Simon Clark, Steve Dawson, Mani Elias, Alex Gifford, Haywoode, Jools Holland, Gus Isadore, Clive Langer, Melanie Newman, Ian Ritchie, Chris Sheldon, Pete Thomas, and Don Weller
  • Engineered by Alan Winstanley, Chris Sheldon, Michael Hutchinson, and Andy Wallace
  • Released in June 1988 on LP, Cassette, CD.
  • Label: Virgin V2420 on LP and Cassette, CDV 2420 (CD).[25]
1992 CCW
  • Musicians: Musicians: Hugh Cornwell, Roger Cook, Andy West, Herbie Flowers, Joel Squires, Rob Brian, Stuart Gordon, and Chris Goulstone
  • Produced by Hugh Cornwell
  • Label: UFO 9 CD[26]
1993 Wired
  • Musicians: Hugh Cornwell, Chris Goulstone, Ted Mason, Robert Williams, Steve Ferrera, Alex Gifford, Phil Andrews, Wesley McGooghan, Joel Squires, George De Angelis, and Tomoyasu Hotei
  • Label: Transmission Trans CD1[27]
1997 Guilty
  • Musicians: Hugh Cornwell, Steve Lawrence, Phil Andrews, Chris Bell, and Laurie Latham
  • Label: Madfish SMACD 501[28]
1999 Black Hair Black Eyes Black Suit
  • Musicians: Hugh Cornwell, Steve Lawrence, Phil Andrews, Chris Bell, and Laurie Latham
  • Label: Velvel P321 79766 (Guilty US version)[29]
1999 FIRST BUS TO BABYLON
  • Musicians: Hugh Cornwell, Chris Goulstone, Ted Mason, Robert Williams, Steve Ferrera, Alex Gifford, Phil Andrews, Wesley McGooghan, Joel Squires, George De Angelis, and Tomoyasu Hotei
  • Label: Velvel 63467 79767 2 (Wired US version)[30]
2000 Hi-Fi
  • Musicians: All instrumentation Hugh Cornwell with appearances from Justin Chapman, Michelle Marti, Mike Polson, Gita Langley, Jesse Murphy, Rachel Helleur, Una Palliser, and John Dominic
  • Label: Koch Entertainment KOC-CD 8220[31]

Solo recordings

[edit]
Year Album Additional information
???? Title note.

The Damage Manual

[edit]

The Damage Manual (album)

[edit]

infobox 2000

Track listing

[edit]
  1. "King Mob" () – :
  2. "Age of Urges" () – :
  3. "Top Ten Severed" () – :
  4. "Peep Show Ghosts" () – :
  5. "Sunset Gun (303 Edit)" () – :
  6. "Stateless (Delusional Mix)" () – :
  7. "Expand" () – :
  8. "Denial" () – :
  9. "Broadcasting" () – :
  10. "Sunset Gun (Fully Monty Sunny Orb Up Mix)" () – :
  11. "Blame & Demand (Wobble-Laswell Hybrid Mix)" () – :
  12. "Damage Addict (Laswell Mix)" () – :
  13. "Stateless (Laswell Mix)" () – :

Limited Edition

[edit]

infobox 2005

Track listing

[edit]

All songs written by Martin Atkins and Chris Connelly except were noted.

  1. "Revenge Fiction" – :
  2. "No Act of Grace" – :
  3. "I Am War Again" – :
  4. "Mad Dialect" – :
  5. "Laugh Track" – :
  6. "South Pole Fighters" – :
  7. "Quiet Life" – :
  8. "Driver Menace" – :
  9. "Limited Edition" – :
  10. "Expand (Can Remix)" (W Wardle, Geordie Walker, Connelly, Atkins, Lee Fraser) – :

One

[edit]

infobox ep 2000

Track listing

[edit]
  1. "Sunset Gun" (Martin Atkins, Chris Connelly, Geordie Walker, Jah Wobble) – 4:03
  2. "Damage Addict" (Atkins, Connelly, Walker, Lee Fraser, Wobble) – 4:16
  3. "Scissor Quickstep" (Atkins, Connelly, Walker, Wobble) – 3:30
  4. "Blame and Demand" (Atkins, Connelly, Walker, Wobble) – 4:13
  5. "Leave the Ground" (Atkins, Connelly, Walker, Wobble) – 4:23
  6. "Bagman Damage" (Wobble) – 4:59
  7. "M60 Dub" (Wobble) – 6:33

East Meets East

[edit]

Ferragosto

[edit]

Feriae Augusti were originally the festive days lasting the entire month of August, in honor of the Emperor Augustus. During this period, the Romans honored their pagan deities and women made votive offerings in temples to ask for protection during childbirth. Participation in all festivities was open also to slaves.

Nowadays, Ferragosto comprises the holidays of mid August during which most Italians go on vacation.

Ferragosto is the most popular Italian festivity as well as one the most important Catholic recurring holidays. The Catholic Church celebrates the day the Virgin Mary was Assunta in Cielo, in other words transported directly to Heaven to be with her son and to look after those of us still here on Earth. The origin of Ferragosto is Pagan and it goes back before Christianity. Peasants in ancient times would rest during the month of August and celebrate the Goddess of all Harvestings in a ritual that would lead to pilgrimages to Her sanctuaries traditionally located in woods or on top of a mountain and offering her foods and prayers. Only in 18 BC the Roman Emperor Augustus (this name meaning "blessed by destiny, good luck") declared that all of the month of August would be dedicated to the Feriae Augusti, a series of festivals and celebrations; the most important was held on the 13th, and was dedicated to Diana, the Goddess who oversees the woods, the phases of the Moon, and Maternity. The celebrations used to take place in Diana's temple on the Aventino and it was one of the few occasions in which all the Romans from masters to slaves could walk and mix freely.

In addition to Diana, the Feriae Augusti were an occasion to celebrate Vortumnus, God of the Seasons and therefore of the ripening of crops, Conso, the God of the Harvest, and Opeconsiva, who personified the abundant harvest. In short, the Feriae were a celebration of abundance and fertility.

Only in the 18th century, Ferragosto became known as the day of the Ascension, and it became official only in 1950 with Pope Pius XII.

Among the traditional celebrations are:

Porto Santo Stefano (Grosseto): On August 15, there is a competition called "Palio Marinaro"; among fishermen divided in four teams representing the four main districts of the town of Porto Santo Stefano. This tradition originates from a legend that narrates about a fisherman's boat that was salvaged from the attacks of the Saracens by hiding in a small grotta (cave) which then became known as the "Grotta del Turco" (The Turk's Cave).

Castelbuono (Palermo): the history of the town is linked to the noble family of Ventimiglia. In 1316 they built a castle that was named after them (see picture below) and is still standing on a rock north of the main town. On August 15, the whole town gathers for the "Arruccata dei Ventimiglia"; locals dressed in ancient costumes create living paintings to evoke episodes of their history.

Like most religious holidays, Ferragosto provides families with an excellent excuse to gather and enjoy a fine meal, renewing the ties that bind the generations. Among the Italian most popular meals is the "Insalatona di Ferragosto" (Midsummer Salad):

(Ingredients: 4 chicken breasts - 1/2 Liter of milk - 1 large ripe tomato - 1 small ginger root - 1 1/2 tbsp butter - 300 grams of green salads - chives - vinegar - 1 tbsp soya sauce - salt)

Marinade the chicken breasts in the milk for 12 hours. Wash and strain the salad, dice the tomatoes, and slice the ginger finely. Remove the chicken from the milk, spread the breasts with butter and cook on a grill pan till tender. Place the salad and tomatoes in a salad bowl, and dress with 2 tbsp of vinegar and toss. Cut the chicken into fine strips and add to the salad, sprinkle with a tbsp of soya sauce, the ginger slivers and the chopped chives.

Ferragosto goes back further and has Pagan origins, which in this case are multiple. On the one hand, in 18 BC the Roman Emperor Augustus declared that all of the month of August would be dedicated to the Feriae Augusti, a series of festivals and celebrations; the most important was held on the 13th, and was dedicated to Diana, the Goddess whose task it was to oversee the woods, the phases of the Moon, and Maternity. The services, which were celebrated in Diana's temple on the Aventine, was one of the few occasions in which Romans from all walks of life, masters and slaves alike, mingled freely, and the women, who made offerings to the Goddess throughout the year in the hope that their labor would be safe and happy, offered prayers to Lucina, the guise Diana assumed when she was acting as protectoress of Labor.

In addition to Diana, the Feriae Augusti were an occasion to celebrate Vortumnus, God of the Seasons and therefore of the ripening of crops, Conso, the God of the Harvest, and Opeconsiva, who personified the abundant harvest. In short, the Feriae were a celebration of fertility and maternity; like many other Roman holidays they derived from the East, and in particular from the Syrian celebration of Atagartis, a Mother Goddess who oversaw both fertility and work in the fields. With the advent of Christianity people turned to the Virgin for help in these matters, and began celebrating Her in August in the church in Jerusalem that was said to be Her resting place; the custom spread through the rest of the Empire under Mauritius, in the late 500s.

It's important to note that this was just a celebration of Mary; the modern dogma that she was transported to Heaven on Ferragosto took hold in the 18th century, and was only formally proclaimed by Pope Pius XII in 1950.

The Italian Holiday Ferragosto - Sacred or Profane?

For the August holidays in Italy, culminating on the 15th with Ferragosto, are rooted in tradition as old as the Roman Empire itself.

Ferragosto is an Italian contraction of the Latin feriae augusti: literally, “Augustus’s holiday.” Proclaimed by Augustus (Julius Caesar’s nephew and heir, and the first Roman Emperor), the feriae augusti were originally a full month of continuous celebration later reduced to a single day in early, and subsequently mid, August. The feriae marked a period in Roman society in which the division of classes slackened, witnessing the rare social mingling of citizens and slaves.

All mundane enterprises ceased during these festivities. Romans feasted and honored diverse gods and goddesses, typically those associated with the harvest and the changing of seasons. For Roman women, the feriae augusti meant a time to worship the goddesses relevant to their own interests, deities such as Diana, the protectoress of youth and a goddess of childbirth (as Lucina, a guise of both Diana and Juno). Thus, in addition to its status as public holiday, in time Ferragosto also became associated with principally “female” matters—fertility, maternity, and children.

Such correlations help to explain how a pagan harvest festival, one already strongly linked to sacred female figures, evolved into a feast day for the Catholic Church’s most revered female figure, the Virgin Mary. For, as Catholic readers will surely remember, August 15 is also the Feast of the Assumption, known in Italy as La Festa dell’Assunta or L’Assunzione di Maria Vergine. One of the Church’s basic Marian dogmas, the Assumption refers to the moment Mary was taken up, or “assumed,” directly into heaven upon her death. Proclaimed official dogma by Pope Pius XII in 1950, it was assigned to August 15 on the liturgical calendar—and not by coincidence. Though unofficial, honoring Mary in August had been an established practice since the Middle Ages.

That the Catholic Church co-opted Ferragosto as it had done with other pagan festivals seems little disputed. History is full of shifts of this kind. Throughout the whole of Europe, firmly-rooted pagan traditions never really died out, but were absorbed rather into an ever-expanding Christian world. Many Christian saints, including Mary, came to bear symbolic resemblance to prior religious figures; and even the most desultory look at the roots of Christmas and Easter quickly reveals a strong connection to ancient pagan antecedents.

From her Greek and Roman predecessors, Mary inherited strong associations with fertility, purity, and maternal strength: Mary’s triumph over death, for instance, recalls the symbology of Ceres, who, as the goddess of corn, died each year come harvest time, but every Spring was re-sowed, reborn; The flowers said to have bloomed spontaneously at Mary’s tomb (usually roses or lilies) as angels conveyed her to heaven, parallel the grain, corn husks and other harvest flora that for ages had been associated of her forerunners; and, even today, Catholics pray to Mary for guidance and care in childbirth just as pagan women sought the aid of Juno, Roman goddess of marriage and childbirth.

What does all this mean to Italians today, if anything? In a culture where the line separating secular from religious is often blurred, the 15th of August represents an outright blind spot. While acknowledging regional differences (in the South, devotion to Mary is known to be much more rigorous), Ferragosto seems to me overwhelmingly laical in practice. The Italians I know all consider Ferragosto a day to “get away,” usually at the beach, perhaps a hike in the mountains or a leisurely lunch with family. It certainly is not a day spent closed inside a church. Yet, the dogma of the Assumption is fundamental to Roman Catholic belief, and one to be observed accordingly. So why aren’t the church pews as crowded as the seashores on this day? True to her dichotomous character, Italy offers no simple answers to questions of faith or tradition.

Giffoni Film Festival

[edit]

History

[edit]
  • The 80s The Giffoni Film Festival editions from 1980 to 1989
  • Anni '90 Le edizioni del Giffoni Film Festival dal 1990 al 1999. In Italian
  • Anni 2000 Le edizioni del Giffoni Film Festival dal 2000 al 2008. In Italian


Festival

[edit]

Programmes

[edit]

Juries

[edit]

Awards

[edit]


Award winners

[edit]


What links here
as of March 26, 2009

Giotto di Bondone

[edit]

Hate Dept.

[edit]

Technical Difficulties (Hate Dept. album)

[edit]
Untitled

Technical Difficulties is the third studio album by synthesizer-laden post-punk band, Hate Dept.. The only single, "Release It", earned radio airplay in 50 North American markets, and peaked at number 40 of the Billboard's Hot Dance Music/Maxi-Singles Sales chart.[32] The album was mixed by Steven Seibold, Bill Kennedy, Jon St. James, and Mon Agranat and recorded at Front Page Studios in Glendale, California, Westlake Recording Studios in West Hollywood, California, The Enterprise Studio II in Burbank, California, and at The Laundry Room in San Clemente, California, and then mastered by Eddy Schreyer at Oasis Mastering in Studio City, California. An almost complete promotional album with an additional intro as the opening track, a rough version of "Wait", and two different versions for "Release It", "Gone", and "Hit Back", was released in late 1998.

Recording and production

[edit]

Songs

[edit]

Reception

[edit]
Professional ratings
Review scores
SourceRating
Allmusic[33]
Alternative Press[34]
Artistdirect[35]
BBC Music(very favourable)[36]
Canoe.ca[37]
Drowned in Sound[38]
Dusted Magazine[39]
Exclaim!(favourable)[40]
Kerrang![41]
Metal Storm[42]
Mojo[43]
Now[44]

Steve Huey of Allmusic wrote that .... |first= They may sound like an industrial band -- clanking drum machines, synthesizers, and loud, crusty guitars -- but Hate Dept. are alt-rockers at heart, emphasizing traditional song structure and punk lyrical attitude over sonic experimentation and abrasiveness. Technical Difficulties is arguably their most accessible release to date, featuring the strong single "Release It."[33]

Track listing

[edit]
Standard edition

All tracks are written by Steven Seibold

No.TitleLength
1."Superdrama"4:16
2."Coming Down"4:30
3."Wait"4:31
4."Anger Impulse"3:56
5."Little Let Down"3:23
6."Release It"3:29
7."Gone"3:58
8."Hit Back"4:23
9."Leaving"5:01
10."Fireflies"4:09
11."Seedling"4:12
12."Fiend"3:37
Total length:43:25

Personnel

[edit]

Charts

[edit]
Chart (1999) Peak
position 		Note
Hot Dance Music/Maxi-Singles Sales[32] 40 "Release It"

References

[edit]
  1. ^ Thompson, Dave (2000). Alternative Rock. San Francisco: Miller Freeman Books. p. 520. ISBN 0-87930-607-6.
  2. ^ Schnee, Steve "Spaz". 999: Biggest Prize in Sport > Review at AllMusic
  3. ^ Merry 2004, p. 145.
  4. ^ "Discography" (TXT). buzzcocks.com. 24 February 2004. Retrieved 31 July 2009.
  5. ^ "Chart Stats - Buzzcocks". chartstats.com. Retrieved 31 July 2009.
  6. ^ "Buzzcocks > Charts & Awards > Billboard Albums". Allmusic. Retrieved 20 August 2009.
  7. ^ a b Knowles 2003, p. 32.
  8. ^ Knowles 2003, p. 83.
  9. ^ Knowles 2003, p. 94.
  10. ^ Knowles 2003, p. 107.
  11. ^ Knowles 2003, p. 110.
  12. ^ a b c d Knowles 2003, p. 230.
  13. ^ Knowles 2003, pp. 233–234.
  14. ^ a b c D’Ambrosio, Antonino D’Ambrosio (2003). "Monthly Review June 2003 Antonino D'Ambrosio". ‘Let Fury Have the Hour’: The Passionate Politics of Joe Strummer. Montly Review. Retrieved 24 November 2007. Strummer and Jones quickly recognized the power of rap music that was just emerging from New York City's underground in the late seventies. {{cite web}}: Unknown parameter |month= ignored (help)
  15. ^ White, Vince (19xx), The Last days of the Clash, p. 187
  16. ^ "Clash, The - This Is Radio Clash". Discogs. Retrieved 25 August 2009.
  17. ^ "Albums by The Clash - Rate Your Music". Rate Your Music. Retrieved 25 August 2009.
  18. ^ Clash, The; Joe Grushecky; Katrina Leskanich; Willie Nile; Ship & Pilot.; Soul Food (Musical group); Sunset Heroes (21 September 2004). The Sandinista! Project A Tribute to the Clash (Compact Disc). England: 00:02:59 Records. OCLC 178980813. {{cite AV media}}: |access-date= requires |url= (help)
  19. ^ "The Sandinista Project". sandinista.guterman.com. Retrieved 20 February 2008.
  20. ^ "Cary Baker's conqueroo - The Sandinista! Project Announcements". conqueroo.com. Retrieved 20 February 2008.
  21. ^ Clash, The, Dubmatix, Don Letts, Creation Rockers, John Brown's Body, Chris Salewicz (22 December 2009). Shatter The Hotel: A Dub Inspired Tribute To Joe Strummer (Compact Disc). England: Strummerville. {{cite AV media}}: |access-date= requires |url= (help)
  22. ^ "Shatter The Hotel: A Dub Inspired Tribute To Joe Strummer". strummerville.com. Retrieved 22 December 2009.
  23. ^ Tony Kinson. "Discography". Hugh Cornwell. Retrieved 6 November 2011.
  24. ^ NOSFERATU (Hugh Cornwell & Robert Williams). hughcornwell.com. Retrieved on 4 March 2009.
  25. ^ WOLF. hughcornwell.com. Retrieved on 4 March 2009.
  26. ^ CCW (Hugh Cornwell, Roger Cook & Andy West). hughcornwell.com. Retrieved on 4 March 2009.
  27. ^ WIRED. hughcornwell.com. Retrieved on 5 March 2009.
  28. ^ GUILTY. hughcornwell.com. Retrieved on 5 March 2009.
  29. ^ BLACK HAIR BLACK EYES BLACK SUIT. hughcornwell.com. Retrieved on 5 March 2009.
  30. ^ FIRST BUS TO BABYLON. hughcornwell.com. Retrieved on 5 March 2009.
  31. ^ HI-FI (UK). hughcornwell.com. Retrieved on 5 March 2009.
  32. ^ a b "Hate Dept - Technical Difficulties – Review". Allmusic. 1999.
  33. ^ a b Huey, Steve (1999). "Hate Dept - Technical Difficulties – Review". Allmusic.
  34. ^ "Absolute Dissent". Alternative Press. Alternative Press Magazine: 91. 2011. {{cite journal}}: Unknown parameter |month= ignored (help)
  35. ^ "Absolute Dissent by Killing Joke". Artists > Killing Joke > Albums. Artistdirect. Retrieved 5 January 2011.
  36. ^ Doran, John (21 September 2010). "Review of Killing Joke - Absolute Dissent". BBC Review. BBC Music. Retrieved 30 September 2010.
  37. ^ Sterdan, Darryl (22 October 2010). "This week's CD reviews". Canoe.ca. Retrieved 24 October 2010. {{cite web}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
  38. ^ Gourlay, Dom (29 September 2010). "Killing Joke - Absolute Dissent". Releases. Drowned in Sound. Retrieved 30 September 2010.
  39. ^ Donnelly, Ben (15 November 2010). "Killing Joke - Absolute Dissent". Dusted Reviews. Dusted Magazine. Retrieved 6 January 2011. {{cite web}}: Unknown parameter |month= ignored (help)
  40. ^ Wiebe, Laura (2010). "Killing Joke - Absolute Dissent". Reviews – Metal. Exclaim!. Retrieved 26 November 2010. {{cite web}}: Unknown parameter |month= ignored (help)
  41. ^ "Absolute Dissent". Kerrang!. Bauer Media Group: 51. 25 September 2010.
  42. ^ "Killing Joke - Absolute Dissent". Metal Storm. 2010. Retrieved 26 November 2010.
  43. ^ "Absolute Dissent". Mojo. Bauer Media Group: 106. 19 November 2010.
  44. ^ Keller, Jason (30 November 2010). "Absolute Dissent". Now. NOW Communications.
[edit]


Jimi Hendrix

[edit]

Jimi Hendrix discography

[edit]

Extended plays

[edit]
Year Album details
1967 Hey Joe
  • Labels: Barclay (071 111) (France), Polydor (51 080 EPH) (Spain)
  • Format: 7" vinyl
  • Track listing Barclay
    • Side one
      1. "Hey Joe"
      2. "Stone Free"
    • Side two
      1. "51st Anniversary"
      2. "Can You See Me?"
  • Track listing Polydor
    • Side one
      1. "Hey Joe"
      2. "Stone Free"
    • Side two
      1. "Purple Haze"
      2. "51st Anniversary"
Mini Boum
  • Labels: Barclay (0500 004) (France)
  • Format: 5" vinyl flexidisc
  • Track listing
    1. "Burning of the Midnight Lamp"
    2. "May this Be Love"
    3. "Highway Child"
    4. "Hey Joe"
    5. "Purple Haze"
    6. "The Wind Cries Mary"
The Wind Cries Mary / Purple Haze
  • Labels: Barclay (071.157) (Australia), Polydor (EPH 60033) (France)
  • Format: 7" vinyl
  • Track listing Polydor
    • Side one
      1. "The Wind Cries mary" – 3:13
      2. "Purple Haze" – 2:40
    • Side two
      1. "Hey Joe" – 3:19
      2. "51st Anniversary" – 3:11
  • Track listing Polydor
    • Side one
      1. "The Wind Cries Mary"
      2. "Fire"
    • Side two
      1. "Purple Haze"
      2. "Highway Child"
1968 Foxy Lady
  • Released: January 1968
  • Labels: Polydor (EPH 60036) (Australia)
  • Format: 7" vinyl
  • Track listing
    • Side one
      1. "Stone Free" – 3:33
      2. "Foxy Lady" – 3:12
    • Side two
      1. "Fire" – 2:30
      2. "Manic Depression" – 3:30

Jimi Hendrix posthumous discography

[edit]

Extended plays

[edit]
Year Album details
1971 Gypsy Eyes
  • Released: July 1971
  • Labels: Track (2094010) (UK)
  • Format: 7" vinyl
  • Track listing
    • Side one
      1. "Gipsy Eyes"
      2. "Remember"
    • Side two
      1. "Purple Haze"
      2. "Stone Free"
1973 All I Want
  • Labels: Visadisc (VI 348) (France)
  • Format: 7" vinyl
  • Track listing
    • Side one
      1. "All I Want"
      2. "Groovemaker"
    • Side two
      1. "Sweet Thang"
      2. "Goodbye Bessie Mae"
1982 All Along the Watchtower
  • Labels: Polydor (POSPX401) (UK)
  • Format: 12" vinyl
  • Track listing
    1. "All Along the Watchtower"
    2. "Foxy Lady"
    3. "Purple Haze"
    4. "Manic Depression"
Voodoo Chile
  • Labels: Polydor (POSPX608) (UK)
  • Format: 12" vinyl
  • Track listing
    • Side one
      1. "Voodoo Chile (Slight Return)"
      2. "Gypsy Eyes"
    • Side two
      1. "Hey Joe"
      2. "Third Stone From The Sun"
1986 Johnny B. Goode: An Original Video Soundtrack
  • Released: June 1986
  • Labels: Capitol (MLP 15022) (Japan) and (S18-5003) (U.S.)
  • Format: Vinyl
  • Note: Recorded live in Berkeley on May 30, 1970, and Atlanta July 4, 1970.
  • Track listing
    1. "Voodoo Child"
    2. "Johnny B. Goode"
    3. "All Along the Watchtower"
    4. "The Star Spangled Banner"
    5. "Machine Gun"
1988 The Peel Sessions
  • Released: November 1988
  • Format: 12" vinyl, CD
  • Note: Re-released in 1996 in the UK by Strange Fruit (SFPSCD035)
  • Track listing
    1. "Radio 1 Theme" – 1:18
    2. "Day Tripper" – 3:16
    3. "Wait Until Tomorrow" – 2:59
    4. "Hear My Train a Comin'" – 5:02
    5. "Spanish Castle Magic" – 3:07
1989 Radio Radio
  • Labels: Rykodisc (PRO-00785) (US)
  • Format: CD
  • Track listing
    1. "Day Tripper"
    2. "Hoochie Koochie Man"
    3. "Hound Dog"
    4. "Hear My Train a Comin'"
    5. "Stone Free"
1991 Jimi Plays Berkeley
  • Format: CD
  • Note: Recorded live at the Berkeley Community Theatre on May 1970.
The Early Years Live
  • Labels: Receiver (REPLAY3018) (UK)
  • Format: 12" vinyl
  • Track listing
    • Side one
      1. "Red House"
      2. "Woke Up this Morning and You Find Yourself Dead"
    • Side two
      1. "Bleeding Heart"
      2. "Sunshine of Your Love"
1992 Live at Winterland + 3
  • Labels: Rykodisc (RCD2038/+3) (U.S.)
  • Format: CD
  • Track lisiting
    1. "Are You Experienced?"
    2. "Voodoo Chile"
    3. "Like a Rolling Stone"
The Wind Cries Mary
  • Labels: Polydor (863917-1) (UK)
  • Format: 12" vinyl
  • Track listing
    1. "The Wind Cries Mary"
    2. "Fire"
    3. "Foxy Lady"
    4. "Maybe This Be Love"
1994 Woodstock 25th
  • Labels: La Bande Son (LBS200794) (France)
  • Format: CD
  • Track listing
    1. "Red House"
    2. "Star Spangled Banner"
1995 Jimi By Himself: The Home Recordings
  • Labels: (PDP 1006)
  • Format: CD
  • Note: Also known as: Voodoo Child: The Illustrated Legend of Jimi Hendrix and Jimi Hendrix at Home 1968 (2001).
  • Track listing
    1. "1983... (A Merman I Should Turn to Be)" – 7:45
    2. "Angel" – 3:28
    3. "Cherokee Jam" – 3:12
    4. "Hear My Train a Comin'" – 1:22
    5. "Voodoo Chile" / "Cherokee Mist" – 10:09
    6. "Gypsy Eyes" – 2:59
1997 Experience Hendrix
  • Labels: Fender (MCA5P-4079) (U.S.)
  • Format: CD
  • Track listing
    1. "Power of Soul"
    2. "Freedom"
    3. "Foxey Lady"
1999 Get DMXperienced
  • Labels: Experience Hend (31 4564998-2)
  • Format: CD
  • Track listing
    1. "Are You Experienced?"
    2. "Fire"
    3. "Star Spangled Banner"
Jimi Hendrix Live at the Fillmore East Sampler
  • Released: February 23, 1999
  • Labels: MCA (MCA5P-4319) (U.S.) and (MCD-11931/111 931-2) (Europe)
  • Format: 2-CD
  • Note: Recorded live at the Fillmore East on December 31, 1969, and January 1, 1970.
  • Track listing
    • Disc one
      1. "Stone Free" (January 1, 1970 2nd Show) – 12:56
      2. "Power of Soul" (January 1, 1970 1st Show) – 6:19
      3. "Hear My Train a Comin'" (December 31, 1969 1st Show) – 9:02
      4. "Izabella" (December 31, 1969 1st Show) – 3:40
      5. "Machine Gun" (January 1, 1970 2nd Show) – 11:35
      6. "Voodoo Child" (Slight Return) (January 1 , 1970 2nd Show) – 6:01
      7. "We Gotta Live Together" (January 1 , 1970 2nd Show) – 9:55
    • Disc two
      1. "Auld Lang Syne" (December 31, 1969 2nd Show) – 3:54
      2. "Who Knows" (December 31, 1969 2nd Show) – 3:55
      3. "Changes" (December 31, 1969 1st Show) – 5:38
      4. "Machine Gun" (December 31, 1969 2nd Show) – 13:36
      5. "Stepping Stone" (January 1, 1970 1st Show) – 5:20
      6. "Stop" (January 1, 1970 1st Show) – 5:43
      7. "Earth Blues" (January 1, 1970 2nd Show) – 5:58
      8. "Burning Desire" (January 1, 1970 1st Show) – 8:23
      9. "Wild Thing" (January 1, 1970 2nd Show) – 3:07
Live at Woodstock
  • Labels: MCA (MCA5P-4372) (U.S.)
  • Format: CD
  • Note: Recorde live at Woodstock on August 18, 1969.
  • Track listing
    1. "Star Spangled Banner"
    2. "Purple Haze"
    3. "Spanish Castle Magic"
Merry Christmas and Happy New Year
  • Labels: MCA (088 155 651), Legacy (88697-77228-1) (2010) (U.S.)
  • Format: CD, 10" vinyl
  • Note: Recorde live on Christmas 1969 with bassist Billy Cox and drummer Buddy Miles.
  • Track lisitng
    1. "Little Drummer Boy" / "Silent Night" / "Auld Lang Syne"
    2. "Three Little Bears"
    3. "Little Drummer Boy" / "Silent Night" / "Auld Lang Syne" (extended version)
2000 The Jimi Hendrix Experience
  • Labels: MCA (JHRP01)
  • Labels: MCA (JH01) (UK)
  • Format: CD, CD single
  • Note: Originally issued in Spain in 1997 as Inedito: Voodoo Child Live, a CD single published by MCA (MCD76093) featuring a live version of "Voodoo Child".
  • Track listing
    1. "Purple Haze"
    2. "Hey Joe"
    3. "Crosstown Traffic"
    4. "Third Stone from the Sun"
2005 In From the Storm Promotion Sampler
  • Labels: BMG (JH001) (Europe)
  • Format: CD

Billie Holiday

[edit]

The Complete Decca Recordings

[edit]

Billie Holiday: The Complete Original American Decca Recordings is a box set two-disc compilation of the complete known studio master recordings, plus alternate takes, of Billie Holiday during the time period indicated, released in 1991 on GRP, GRP 26012. The box includes 50 tracks, a 78 page booklet with extensive photos, a song list, discography, essays by Milt Gabler, Toots Camarata, and Steven Lasker.

Holy City Zoo

[edit]

The highly anticipated Mob Research's album, Holy City Zoo, has be released on Code7 in the U.K. and Echozone Records in the rest of Europe and on May 22. An U.S. release will be announced soon.

The band — featuring the late Paul Raven (Killing Joke, Ministry, Prong) on bass, Mark Gemini Thwaite (The Mission UK, Tricky, Peter Murphy) on guitar, Kory Clarke (Warrior Soul, Trouble) on vocals and Nick Lucero (Queens of the Stone Age, Peter Murphy) on drums — has also lauched its official web site at [www.mobresearchinc.com www.mobresearchinc.com].

"Holy City Zoo" was produced by Mark Thwaite and mixed by Tim Palmer (H.I.M., Pearl Jam, Ozzy Osbourne, The Missin UK) with additional mixing by Hilton Thiessen and Maor Appelbaum, who mastered albums by Yngwie Malmsteen, Halford, Fight, F5, Therion and Treponem Pal (Paul Raven's last recording before he died). The CD features 10 songs plus seven bonus remixes by SinDaddy, Elektrofish, DJ Rob (Sanctuary Radio) and Metalamorphosis.

Track listing

[edit]
  1. "Tribe" – 3:42
  2. "Holy City Zoo" – 4:06
  3. "New Paradigm" – 4:55
  4. "Wambulance" – 3:07
  5. "Manufactured Terror" – 3:52
  6. "Skull and Bones" – 4:30
  7. "Sky God Worshippers" – 4:26
  8. "The New Religion" – 3:33
  9. "This One's for You" – 4:00
  10. "Atmosphere" – 3:15
Bonus Tracks
  1. "Tribe" (Blueblood Warpaint Remix) – 4:32
  2. "Wambulance" (Terminator Remix) – 5:18
  3. "Holy City Zoo" (Elektrofish Remix) – 4:34
  4. "This One's for You" (Programmist Remix) – 3:42
  5. "Tribe" (Elektrofish Remix) – 3:41
  6. "Manufactured Terror" (DJ Rob Remix) – 3:58
  7. "Skull and Bones" (SinDaddy Remix) – 4:49

Dick Hyde (musician)

[edit]

IS (Infinity of Sound)

[edit]
Infinity of Sound
OriginSeoul, South Korea
GenresNew Age, Korean traditional music
Years active2007 (2007)–present
LabelsSeoul, Musicwell
MembersJin-ah Kim
Sun-ah Kim
Min-ah Kim
Website3isfan.com

IS (Infinity of Sound) (Korean: 아이에스) is a New Age Korean traditional music group that consists of Kim's triplet sisters, Jin-ah, Sun-ah and Min-ah who play traditional Korean musical instruments fused with contemporary lyrics and funky beats.

History

[edit]


Genre: New-Age, Korea Traditional Music Members:

Hometown: SOUTH, KOREA

Record label: MUSICWELL

About:

Twitter @InfinityofSound

Youtube.com/InfinityofSound

http://3isfan.com/ Website: 

   http://3isfan.com
   http://www.youtube.com/InfinityofSound
   http://www.facebook.com/pages/Infinity-of-Sound
   http://twitter.com/InfinityofSound

Genre: 

   New-Age Korea Traditional Music

Members: 

   Kim Jin-Ah(Gayageum)
   Kim Sun-Ah(Geomungo)
   Kim Min-Ah(Haegeum)

Hometown: 

   SOUTH, KOREA

Record label: 

   Musicwell

About: 

   Twitter @InfinityofSound

   Youtube.com/InfinityofSound

   http://3isfan.com/

Infobox

  • Genre: Fusion, Pop
  • Location Seoul, ??, KR
  • Label Musicwell
  • Type Indie
  • [4]

This is a trio attending the Graduate School of the Korean National University of Arts. The sisters ― Kim Jin-ah, who plays the Gayageum ; Sun-ah, the geomungo ; and Min-ah, haegeum ― have performed their music both at home and abroad. In its debut album, “Step One,” the group showed the essence of traditional music mixing the acoustic sounds of the instruments with their own vocals. But in the recent album “In Dreams Volume 1,” they have attempted to blend in electronic sounds. Notably, the band has recently released an album featuring the title track “Mouana” in collaboration with France-based Cameroonian band Erik Aliana & Korongo Jam. Using two guitars, gayageum, geomungo, haegeum and an African folk drum, Udu, the song is marked by the powerful vocals of Erik Aliana and good harmony of IS. The two groups first met in 2007 at Japan’s World Music Festival. They performed on a different stage but they were attracted by each other’s music. After that, the Cameroonian band visited Korea in 2008 to take part in the Nangye Traditional Music Festival and perform together with IS for the song “Mouana.”

  • Kim Jin-Ah (Gayageum), Kim Sun-Ah (Geomungo), Kim Min-Ah (Haegeum).
    • kayagum (zither), yanggum (dulcimer) and haegum (fiddle)


Thirteen Indian acts converged in Singapore recently to participate in the Sutasi Song Contest and Talent Search – a reality TV show to track down Asia’s finest bands, solo artistes and songwriters. The Indian acts were part of 42 artistes chosen from a regional playoff within South-East Asia, North-East Asia and South Asia. Out of these, 12 finalists.[1]


In 2009 the trio participated to the international music competition program for bands and singer/songwriters, airing throughout Asia, called "Sutasi."[2]


Korean Kayagǔm Sanjo: A Traditional Instrumental Genre

SOAS Musicology series

Authors Keith Howard, Chaesuk Lee, Chae-suk Yi, Nicholas Casswell

Publisher Ashgate, 2008

ISBN 0754663620, 9780754663621

...ensambles emerged, among them Yeoul, Gaya Beauty, IS (Infinity of Sound) and the family ensamble Lee Rang (comprising Mun Chaesuk and her two daughters. Ensambkes call for new creativity from composers and arrangers, typicalli packaging the result as "kugak fusions". They typically simplify ornamentation techniques, creating harmonic, easy-listening repertory that is the scourge of many traditional... p. 39


"Milion Roses" = Soviet 1981 song composed by Soviet composer and piano player Raimonds Pauls ... featured in Korean Kdrama I am legend


Step One by IS INFINITY OF SOUND

Three young singing sisters who also play traditional instruments. Their voices are pretty much pop sounding, while the Kim sisters also play kayagum (zither), yanggum (dulcimer) and haegum (fiddle). The excellent Wong Il (Puri) plays the piri (oboe) and various percussion, and there's also accordion and piano (from Peter Schindler). The music has an experimental edge to it, with hip-hop rhythm and repetitive string phrases. A welcome new direction for Korean music.11 tracks including Spring, used in a Korean drama.[3]

IS (Infinity of Sound), a band known for using Korean traditional instruments to play modern music, is releasing its second mini album, "In Dreams Volume 2."[3]

The versatile triplets Kim Jin-ah, who plays gayageum, Sun-ah, geomungo, and Min-ah, haegeum, are all graduate students at Korea National University of Arts, and also appeared in the film Antique (film)Antique (a 2008 South Korean film based on Fumi Yoshinaga's manga Antique Bakery) and TV dramas Goong S and Moon River.[3]

The new album leans more toward trendy music, interpreting Korean traditional music in a pop style.[3]


  • Film 2008 Antique High school girl trio
  • TV 2007 The Legend of Hyang-dan Singing trio


Infinity of Sound (South Korea) IS (Infinity of Sound) is a Korean trio blurring the boundaries between Korean traditional, electronic music, pop, and fusion.

The band consists of triplet sisters Kim Jin Ah (playing gayageum - a 12-stringed Korean arfa), Sun Ah (geomungo - a six-stringed Korean arfa), and Min Ah (haegeum - a two-stringed fiddle)

The 24-year-old girls are no amateurs, they graduated with honours from Korean University of Arts in 2007 and each have a Master’s Degree. They grasped media’s attention even before releasing their first album “Step One” because of their cameo roles as musicians of the royal court in Korean drama “Princess Hours”, as well as their pop song covers.

Their debut album is something along the lines of “Korean traditional music meets contemporary vocal”. In the second album, “In Dreams Vol 1”, the trio started to blend in electronic sounds. Their latest album, “In Dreams Vol 2” (aka, “Moana”) is a collaboration project with French artists Erik Aliana & Korogo Jam and introduces African rhythms.

IS (Infinity of Sound), a band known for using Korean traditional instruments to play modern music, is releasing its second mini album, "In Dreams Volume 2."[3]

The versatile triplets Kim Jin-ah, who plays gayageum, Sun-ah, geomungo, and Min-ah, haegeum, are all graduate students at Korea National University of the Arts, and also appeared in the film "Antique" and TV drama "Moon River."[3]

The new album leans more toward trendy music, interpreting Korean traditional music in a pop style.[3]


IS (Infinity of Sound)

KIM Jin-a, KIM Seon-a, KIM Min-a (Bachelor of Traditional Arts in Instrumental Music/2007)

IS is a fusion music group created by triplets Jin-a Kim (playing gayageum), Seon-a Kim (geomungo), Min-a Kim (haegeum). They graduated and started to take graduate programs in the School together in 2007. Before the release of a debut album, they became known to the public by appearing in cameo roles as musicians of the royal court in "Princess Hours S", a popular TV drama series in Korea.[4]

Korea National University of Arts


Members

[edit]
  • Jin-Ah Kim – gayageum, lead and backing vocals
  • Sun-Ah Kim – geomungo, lead and backing vocals
  • Min-Ah Kim – haegeum, lead and backing vocals

Discography

[edit]

Studio albums

[edit]

Extended plays

[edit]
  • 2009 In Dreams Volume 1
    (released by Musicwell on 18 June 2009)
  • 2010 In Dreams Volume 2
    (featuring Erik Aliana & Korogo Jam; released by Musicwell on 8 December 2010)

Singles

[edit]
  • 200x "First Signle"

References

[edit]
  1. ^ Bhowmik 2008.
  2. ^ Cashmere 2009.
  3. ^ a b c d e f g The Chosun Ilbo 2010.
  4. ^ K'ARTS - Outstanding Alumni.

Sources

[edit]
Books
Films and documentaries
News, magazines, journals and papers
Web resources
[edit]

Killing Joke

[edit]

removed ref form line, "On October 20th, Paul Raven died..."[1]

Absolute Dissent

[edit]

Artwork

[edit]

Guest musicians

[edit]

MMXII (album)

[edit]

Paul Raven

[edit]

KJ Alchemy: The Remixes

[edit]

Alchemy - The Remixes RDT15932212 (1996)

Track listing

[edit]
  1. "Requiem (A Floating Leaf Always Reaches the Sea Mix)" – 10:24
  2. "4 Stations of the Sun (Hallucinogen Mix)" – 7:25
  3. "Pandemonium (The Dragonfly Mix)" – 6:12
  4. "Drug (Black Sun Mix)" – 6:05
  5. "Millennium (Back to Orion Mix)" – 6:47
  6. "Exorcism (The Bretonic Revenge - Total Eclipse Remix Edit)" – 6:11
  7. "Pandemonium (A Thread of Steel in the Suspension Bridge of Time Mix)" – 9:08
  8. "Democracy (Russian Tundra Mix)" – 17:46

Killing Joke discography

[edit]

Title: LOVE LIKE BLOOD
Artist: KILLING JOKE
Label: EG-POLYDOR
Date of entry: 17.02.1985
Highest Placement: 30
Weeks in the Charts: 1

KILLING JOKE IN NEW ZEALAND CHARTS
Singles

Title Entry Peak weeks
Love Like Blood 05/05/1985 6 12
Kings And Queens 21/07/1985 43 2
Adorations 05/10/1986 34 3


UK Top 40 Hit Database everyHit.com.
Position Artist Title Format Date Details
39 Killing Joke Killing Joke Album Oct 1980
12 Killing Joke Revelations Album May 1982
29 Killing Joke Fire Dances Album Jul 1983
16 Killing Joke Love Like Blood Single Feb 1985
11 Killing Joke Night Time Album Mar 1985
34 Killing Joke Millennium Single May 1994
28 Killing Joke Pandemonium Single Jul 1994
16 Killing Joke Pandemonium Album Aug 1994
39 Killing Joke Democracy Single Mar 1996
25 Killing Joke Loose Cannon Single Jul 2003

CHARTSTATS

Follow The Leaders Follow The Leaders 23/05/1981 55 60 5
Empire Song Empire Song 20/03/1982 43 52 4
Birds Of A Feather 30/10/1982 64 67 2
Let's All Go (To The Fire Dances) Let's All Go (To The Fire Dances) 25/06/1983 51 57 3
Me Or You Me Or You 15/10/1983 57 67 2
Eighties Eighties 07/04/1984 60 62 5
A New Day A New Day 21/07/1984 56 64 3
Love Like Blood Love Like Blood 02/02/1985 16 33 9
Kings And Queens Kings And Queens 30/03/1985 58 66 3
Adorations Adorations 16/08/1986 42 57 7
Sanity Sanity 18/10/1986 70 74 2
America 30/04/1988 77 79 3
My Love Of This Land 23/07/1988 89 95
2
Millennium Millennium 07/05/1994 34 38 2
The Pandemonium Single The Pandemonium Single 16/07/1994 28 51 3
Jana 04/02/1995 54 54 1
Democracy 23/03/1996 39 39 1
Loose Cannon Loose Cannon 26/07/2003 25 37 2
Hosannas From The Basements Of Hell Hosannas From The Basements Of Hell 01/04/2006 72 72 1

Albums
Album First Seen Highest position Avg Position No. weeks Graph Key
[Killing Joke - Killing Joke] Killing Joke 25/10/1980 39 48 5
[Killing Joke - What'S This For] What'S This For 20/06/1981 42 51 4
[Killing Joke - Revelations] Revelations 08/05/1982 12 56 6
[Killing Joke - Ha - Killing Joke Live] Ha - Killing Joke Live 27/11/1982 66 67 2
[Killing Joke - Fire Dances] Fire Dances 23/07/1983 29 56 3
[Killing Joke - Night Time] Night Time 09/03/1985 11 46 9
Brighter Than A Thousand Suns 22/11/1986 54 54 1
[Killing Joke - Outside The Gate] Outside The Gate 09/07/1988 92 92 1
[Killing Joke - Pandemonium] Pandemonium 06/08/1994 16 37 3
[Killing Joke - Democracy] Democracy 13/04/1996 71 71 1

Year Single Chart Peak
1980 Change/Requiem Dance Music/Club Play Singles 43
1980 Psyche Dance Music/Club Play Singles 50
1981 Follow The Leader Dance Music/Club Play Singles 25
Chart information courtesy of Billboard.com © 2006 VNU eMedia, Inc. All rights reserved.

Singles (Old list)

[edit]

King Crimson

[edit]

The Brondesbury Tapes

[edit]

The Brondesbury Tapes (1968) (Greatest Hits)

  • Artist: Giles Giles & Fripp
  • Label: VOICEPRINT UK
  • Album The Brondesbury Tapes (1968)
  • Type Compilation
  • Genre Pop/Rock, Art Rock, Prog-Rock
  • DPCI: 244-10-2806
  • ASIN: B002TLWT8O
  • Catalog #: 11866162

Considering that Giles, Giles & Fripp's original album sold about 500 copies, the very existence of this 70-minute CD is a source of astonishment as well as delight. Comprised of privately made tapes of the legendary progressive/pop/rock trio -- all home recordings, on a Revox stereo reel-to-reel recorder, that made lots of use of overdubbing -- this CD shows Robert Fripp, Peter Giles, and Michael Giles (along with Julie Dyble and Ian McDonald) at their most experimental. Virtually all of what ended up on The Cheerful Insanity of Giles, Giles & Fripp seems to have started life here, before they ever got into Decca's studios, so this is a chance to hear some of their released music as works-in-progress, most notably Robert Fripp's "Suite No. 1" (which was later transmuted into "Prelude: Song of the Gulls" from Islands), and an early Fripp guitar piece, "Tremelo Study in A Major." King Crimson completists will also be overjoyed to find the GG&F rendition of "I Talk to the Wind" (two different takes of it, in fact) in its original version, sung by Julie Dyble, which appeared on the double LP Young Person's Guide to King Crimson, finally turning up on CD on this disc. Also present on this CD is another lost early link in Crimson's subsequent output, "Why Don't You Just Drop In," which evolved through several intermediate stages into "The Letters" on Islands; and a portion of Fripp's "Passages of Time" ended up in the bridge of "Peace--A Theme" from In the Wake of Poseidon. Dyble turns up on vocals along with Ian McDonald (who plays sax, flute, and keyboards, as well as singing) on "Make It Today," a smooth piece of progressive pop-jazz (complete with a McDonald sax solo) that sounds as though it could have come from Judith Durham of the Seekers in a light moment. McDonald is all over these tapes, playing flute on an outtake of "Digging My Lawn" and saxes and piano elsewhere. Not all of it is great music -- "Plastic Pennies" is pure (albeit pleasant) pop, worthy of the Seekers -- but the raw talent is impressive. Additionally, listening to these tapes, one gets the sense that Giles, Giles, Fripp & McDonald, whatever they called themselves, could have made it, at least as far as the jazz clubs in England, without ever becoming what we later knew as King Crimson. There's also a pleasant bonus for fans of Peter Sinfield, whose "Under the Sky" (later a centerpiece of his solo album), turns up here in its ethereal original version, sung by Dyble. There is distortion on a few tracks, but most of what's here displays amazingly good quality for home demos dating back more than 30 years. Bruce Eder, All Music Guide[2]

Track listing

[edit]
  1. "Hypocrite" (Giles) – 3:41
  2. "Digging My Lawn [A]" (Giles) – 1:58
  3. "Tremelo Study in a Major (Spanish Suite)" – 1:41
  4. "Newly Weds" (Giles) – 1:52
  5. "Suite No. 1" (Fripp) – 5:34
  6. "Scrivens" (Giles) – 2:15
  7. "Make It Today [A]" (McDonald, Sinfield) – 3:26
  8. "Digging My Lawn" (Giles) – 1:55
  9. "Why Don't You Just Drop In [I]" (Fripp) – 3:40
  10. "I Talk to the Wind [1]" (McDonald, Sinfield) – 3:17
  11. "Under the Sky" (McDonald, Sinfield) – 3:53
  12. "Plastic Pennies" (Fripp) – 2:18
  13. "Passages of Time" (Fripp) – 3:32
  14. "Under the Sky" (McDonald, Sinfield) – 2:49
  15. "Murder" (Giles) – 2:41
  16. "I Talk to the Wind" (McDonald, Sinfield) – 3:15
  17. "Erudite Eyes" (Fripp) – 6:46
  18. "Make It Today [B]" (McDonald, Sinfield) – 4:46
  19. "Wonderland" (Fripp) – 6:08
  20. "Why Don't You Just Drop In [II]" (Fripp) – 3:42
  21. "She Is Loaded" (Giles) – 3:12

Releases

[edit]
  • 2001 CD Voiceprint Records 235
  • 2002 CD Mister E 1
  • 2009 LP Vinyl Lovers 900693

Personnel

[edit]
  • Giles
  • Giles
  • Fripp
Additional Artists
  • Ian McDonald (Vocals)
  • Peter Giles (Vocals)
  • Michael Giles (Vocals)
  • Judy Dyble (Vocals)

King Crimson discography

[edit]

Jo Jo in the Stars

[edit]

She'd been running the show for as long as anyone
could remember,
parading her collection of monsters and misfits for
all to see.

They'd come in their thousands, hungry for
a glimpse of Mdme Pica's brood.
And he'd be there too,
night after night.

Only he'd come for Jo Jo ...

The rain fell for ten long years, and with
each passing year the crowds dwindled
until her cavernous halls stood almost empty.

What was once shocking no longer amused.
Some new horror was needed to
draw them in once more.

Someone — or something...

Miriam Makeba

[edit]
LEAD

Miriam Makeba (4 March 1932 - 10 November 2008) was a South African singer, songwrtiter, author, actress, former UN ambassador, FAO Goodwill Ambassador, and anti-apartheid and civil rights activist. Makeba, also known as "The Empress of African Song" and Mama Africa, was the first African recording artist to be awarded a Grammy. She began her career in the 1950s with The Manhattan Brothers, then formed her own female group, the Skylarks. Banned from returnig to South Africa after she toured overseas with King Kong, she was in exile for 30 years, in the United States then in Guinea. She returned to South Africa in 1990.[3]

In a career spanning six decades, from the 1950s to the 2000s, she has worked with international superstars such as Hugh Masekela, Harry Belafonte, Paul Simon, Dizzy Gillespie, Nina Simone, Sidney Poitier, Miles Davis, and Whoopi Goldberg, and has has met world leaders including John Fitzgerald Kennedy, Fidel Castro, Ahmed Sékou Touré, Haile Selassie, Samora Machel, Julius Nyerere, Jomo Kenyatta, Kwame Nkrumah, Nelson and Graça Machel-Mandela, François Mitterrand, Pope John Paul II, and Carl XVI Gustaf of Sweden. She is perhaps the only African artist who has had three private audiences with the Pope. A citizen of the world who had nine passports and received honorary citizenship of ten different countries, Makeba... [4]

In Cuba 1972???
In Guinea

15 years....

Pope John Paul II

3 audiences...

In every community, in every nation, people are doing little and big things to help make a better world. Think of what has been accomplished to date: space exploration; satellite communications; heart transplants. Today, we have managed to do what previous generations never dreamed of.
But, you see, today, around the world, 840 million people still don't have enough to eat. And it doesn't have to be this way.

—Miriam Makeba[5]
Nkrumah 2001

... performs in aid of the Cairo-based Association of Friends of the National Cancer Institute (AFNCI) effort to raise funds for the construction of a hospital specialising in the treatment of children with cancer.[4]

Makeba was the first African artist to perform before the founding fathers of the Organisation of African Unity (OAU).[4]

Makeba remembers going to the South African embassy in New York to apply for permission to return home for her mother's funeral. "The man at the desk took my passport. He did not speak to me. He took a rubber stamp and slammed it down. Then he walked away. I picked up my passport. It was stamped 'Invalid'. 'They have done it,' I told myself. 'They have exiled me. I am not permitted to go home -- not now, maybe not ever. My family, my home. Everything that has gone into the making of myself, gone'." She has had nine different passports, including those of Ghana, Guinea and Tanzania. In 1972, Fidel Castro gave her a Cuban passport.[4]

She even has a school named after her in Pretoria.[4]

"I look at an ant and see myself: a native South African, endowed with a strength much greater than my size, so I might cope with the weight of racism that crushes my spirit." —Miriam Makeba[4]

"That was the only time my mother saw me on stage. At one point in the play I am strangled and my mother jumped from her seat and screamed: 'No. You will not get away with murder. You cannot do this to my daughter.' Friends explained to her that this was not for real -- that we were acting. But she made such a fuss. Everyone was so embarrassed. On stage my heart sank" —Miriam Makeba[4]

"Normally I sleep during long flights, but when I was returning to my country I could not sleep a wink" —Miriam Makeba[4]

"My brother's was the first face I spotted in the crowd, [...] After a stopover at his house, I went straight to my mother's grave. I spent hours alone in the graveyard, remembering, weeping and contemplating in silence." —Miriam Makeba[4]

"The young people were very excited and chanted 'Mama Africa' as I entered the packed hall where the meeting was held." —Miriam Makeba[4]

Thus will all the strands of her life -- all the people Miriam Makeba has been, all the places she has seen, and all the causes for which she has raised her voice -- come together at last.[4]

[...]I'm not a political singer, I don't know what the word means. People think I consciously decided to tell the world what was happening in South Africa. No! I was singing about my life, and in South Africa we always sang about what was happening to us—especially the things that hurt us.

—Miriam Makeba[6]

South African musical legend Miriam Makeba dies

Monday, November 10, 2008

By CELEAN JACOBSON, Associated Press Writer Frances D'Emilio; Boubacar Diallo, Maseco Conde, Eddy Isango

JOHANNESBURG, South Africa — She died just how she wanted to _ singing on stage for a good cause. And her recorded songs wafted out of taxis and radios, as fellow Africans struggled with their grief at her passing.[7]

Miriam Makeba, the "Mama Africa" whose sultry voice gave South Africans hope when the country was gripped by apartheid, died Monday of a heart attack after collapsing on stage in Italy. She was 76.[7]

In her dazzling career, Makeba performed with musical legends from around the world _ jazz maestros Nina Simone and Dizzy Gillespie, Harry Belafonte, Paul Simon _ and sang for world leaders such as John F. Kennedy and Nelson Mandela.[7]

Her distinctive style, which combined jazz, folk and South African township rhythms, managed to get her banned from South Africa for over 30 years.[7]

"Her haunting melodies gave voice to the pain of exile and dislocation which she felt for 31 long years. At the same time, her music inspired a powerful sense of hope in all of us," Mandela said in a statement.[7]

He said it was "fitting" that her last moments were spent on stage.[7]

Makeba collapsed after singing one of her most famous hits "Pata Pata," her family said. Her grandson, Nelson Lumumba Lee, was with her as well as her longtime friend, Italian promoter Roberto Meglioli.[7]

"Whilst this great lady was alive she would say: 'I will sing until the last day of my life'," the family statement said.[7]

Makeba died at the Pineta Grande clinic in Castel Volturno, near the southern city of Naples, after singing at a concert in solidarity with six immigrants from Ghana who were shot to death in September in the town. Investigators have blamed the attack on organized crime.[7]

The death of "Mama Africa" sent shock waves through South Africa, where callers flooded local radio stations with their recollections of her. In Guinea, where Makeba lived most of her decades in exile, radio and television stations played mournful music and tributes to their adopted icon.[7]

The first African to win a Grammy award, Makeba started singing in Sophiatown, a cosmopolitan neighborhood of Johannesburg that was a cultural hotspot in the 1950s before its black residents were forcibly removed by the apartheid government.[7]

She then teamed up with South African jazz trumpeter Hugh Masekela _ later her first husband _ and her rise to international prominence started in 1959 when she starred in the anti-apartheid documentary "Come Back, Africa."[7]

When she tried to fly home for her mother's funeral the following year, she discovered her passport had been revoked.[7]

In 1963, Makeba appeared before the U.N. Special Committee on Apartheid to call for an international boycott of South Africa. The white-led South African government responded by banning her records, including hits like "Pata Pata," "The Click Song" ("Qongqothwane" in Xhosa), and "Malaika."[7]

Makeba received the Grammy Award for Best Folk Recording in 1966 together with Belafonte for "An Evening With Belafonte/Makeba." The album dealt with the political plight of black South Africans under apartheid.[7]

Thanks to her close relationship with Belafonte, she received star status in the United States and performed for President Kennedy at his birthday party in 1962. But she fell briefly out of favor when she married black power activist Stokely Carmichael _ later known as Kwame Ture _ and moved to Guinea in the late 1960s.[7]

Besides working with Simone and Gillespie, she also appeared with Paul Simon at his "Graceland" concert in Zimbabwe in 1987.[7]

After three decades abroad, Makeba was invited back to South Africa by Mandela shortly after his release from prison in 1990 as white racist rule crumbled.[7]

"It was like a revival," she said about going home. "My music having been banned for so long, that people still felt the same way about me was too much for me. I just went home and I cried."[7]

Tributes flooded in Monday from across Africa.[7]

Congo's minister of culture, Esdras Kambale, called Makeba a role model for all Africans.[7]

"We are very saddened," Kambale said. "Fortunately, she left a large body of music that will be immortal."[7]

Percussionist Papa Kouyate _ who played in Makeba's band for 20 years and is the widower of her daughter Bongi _ remembered Makeba as a giving person.[7]

"I married her daughter Bongi and she adopted me as her own child," he said. "I will mourn Mama Africa for a long time."[7]

Still, Makeba attracted controversy by lending support to dictators such as Togo's Gnassingbe Eyadema and Felix Houphouet-Boigny from Ivory Coast, performing at political campaigns for them, even as they violently suppressed democratic movements in West Africa in the early 90s.[7]

The first person to give her refuge was Guinea's former President Ahmed Sekou Toure, who has been accused in the slaughtering of 10 percent of his country's population.[7]

Makeba insisted, however, that her songs were not deliberately political.[7]

"I'm not a political singer," she insisted in an interview with Britain's Guardian newspaper earlier this year. "I don't know what the word means. People think I consciously decided to tell the world what was happening in South Africa. No! I was singing about my life, and in South Africa we always sang about what was happening to us _ especially the things that hurt us."[7]

The U.S. State Department sent condolences to Makeba's family as international tributes for Makeba also flooded in Monday.[7]

"Her voice and her battles influenced the process of liberation and democratic rebirth in South Africa," Italian President Giorgio Napolitano said in a statement.[7]

Jacques Diouf, director general of the U.N. Food and Agriculture Organization, praised Makeba for the work she did for the poor as its goodwill ambassador. "We will miss her energy and her respectful concern for the world's most vulnerable," he said in a statement.[7]

Makeba announced her retirement three years ago, but despite a series of farewell concerts she never stopped performing. When she turned 75 last year, she said she would sing for as long as possible.[7]

Makeba is survived by her grandchildren, Nelson Lumumba Lee and Zenzi Monique Lee, and her great-grandchildren Lindelani, Ayanda and Kwame. A funeral will be held in South Africa, but details have not yet been announced.[7]

Photographer Jurgen Schadeberg, who shot widely acclaimed pictures of Makeba for Drum magazine in the 50s, felt she epitomized the era where politics and culture collided in a heady mix.[7]

"We are losing our great divas," he lamented by telephone from France.[7]

Copyright 2008 The Associated Press.

BIOGRAPHY [ TIMELINE | EDIT ]

Born: March 4, 1932 | Died: November 9, 2008[8]

South African diva Miriam Makeba is well known throughout the world as Mama Africa and the Empress of African Song. She is African music's first and foremost world star. She is a pioneer who played her early songs and blended different styles long before anyone even began to talk about “world music.” Her record production is spread across many companies all over the world - so far and wide that it's difficult to get a panoramic view of it. But no collection of African music should be without one or more of Miriam Makeba's recordings.[8]

Miriam was born in Johannesburg. As a young girl of thirteen, she entered a talent show at a missionary school and walked off with the first prize. She was often invited to sing at weddings, and her popularity grew in leaps and bounds as more and more people became dazzled by her talent. In 1952 she was chosen to sing for The Manhattan Brothers and toured South Africa with them. As early as 1956, she wrote and released the song “Pata Pata.”[8]

She received invitations to visit Europe and America, where she came to the attention of Harry Belafonte and Steve Allen and was capitulated to stardom. 1959 saw her becoming the first South African to win a Grammy award for the album “An Evening with Harry Belafonte & Miriam Makeba.”[8]

Miriam became an exile in 1960 when South Africa banned her from returning to her birth country - she was deemed to be too dangerous and revolutionary - this was after she had appeared in an anti-apartheid documentary, entitled “Come Back Africa”, and this upset the then white apartheid government of South Africa. Miriam only returned to South Africa thirty years later.[8]

In 1967, more than ten years after she wrote the song, “Pata Pata” was released in the United States and became a hit worldwide. It has since been re-recorded by numerous international artists. Miriam was a darling of the American public, but they turned against her when she married the radical black activist, Stokely Carmichael, in 1968. Once again, she was at the receiving end of a dissatisfied and disgruntled country. Although the United States never banned her, her US concerts and recording contracts were suddenly cancelled.[8]

She moved back to Africa, this time to Guinea where she was welcomed with open arms. Miriam continued to record songs and toured intensively. She was well respected by the government of Guinea and was asked to address the United Nations General Assembly as a Guinean delegate. She twice addressed the General Assembly, speaking out against the evils of apartheid.[8]

Although always regarding herself as a singer and not as a politician, Miriam's fearless humanitarianism has earned her many International awards, including the 1986 Dag Hammerskjold Peace Prize and the UNESCO Grand Prix du Conseil International de la Musique. Makeba is also known for having inspired an enduring fashion in the 60's when the slogan “black is beautiful” was launched which popularized the Afro hairstyle of the period.[8]

She has toured with singers such as Paul Simon, Nina Simone, Hugh Masekela and Dizzy Gillepsie. The ban on her records was lifted in South Africa in 1988 and she returned to her homeland in December 1990. Four years later she started a charity project to raise funds to protect women in South Africa. Her first concert in South Africa (1991) was a huge success and this was a prelude for a world-wide tour which included the USA and Europe.[8]

She has released over fifty albums over the years, and her powerful and distinctive voice retains the clarity and range that enable it to be both forceful as a protest march and as poignant as an African lullaby.[8]

She keeps on singing, with her granddaughter Zenzi Lee in her background choir and a great-grandson in her entourage. She released a critically acclaimed comeback album, “Homeland,” released in 2000, which was nominated for a Grammy Award in 2001. She appeared in the movie of 2002 by Lee Hirsch, the opulent and exciting documentary “Amandla!” about the powerful part of music in the struggle against Apartheid. In 2004, at the South African Music Awards 10, her album “Reflections,” won two awards: Best Jazz Vocal Album and Best Adult Contemporary Album. She is on an international tour in 2007 with her eight member band, and performed for a free concert in May in London’s Trafalgar Square.[8]

Miriam is MamaAfrica, a lady with a special touch. She has weathered many storms in her life, including several car accidents, a plane crash and even cancer. She remains as active in her latter years as she did as a young girl with stars in her eyes.[8]

Her exceptional personal and artistic profile is part of the history of this century, all adding to the dramatic elements of an extraordinary life, making Miriam Makeba a living legend.[8]

MIRIAM MAKEBA
  • Bordowitz, Hank (2004). "Miriam Makeba". Noise of the World: Non-western Musicians in their Own Words. Brooklyn, NY: Soft Skull. pp. 245–260. ISBN 1932360603. OCLC 56809540. {{cite book}}: Invalid |ref=harv (help)

The Grand Dame of World Music. 'Mama Africa," Miriam Makeba had a pop hit with 'Pata Pata" (also called "The 'Clicking' Song" for the tongue clicks that characterize Zulu languages) in 1967, bringing at leavened version of mbaqanga to Western ears for the first time.[9]

When I came here, I was something completely new, because I sang my songs. I sang my "clicking songs," so it was something completely different. It opened the way for many South African artists, including Hugh Masekela, Dollar Brand, what's his name now? Abdullah Ibrahim. At home he was Dollar Brand. He was best known at home as Dollar Brand. Everyone is in. Paul Simon has opened it even wider.[9]

With Harry Belafonte, I had another vehicle, because when I was performing with him, I was reaching more people. His audience was wide, so is Paul's. So when I'm with him, I'm reaching different people. It is an audience that we might never have reached on our own. Paul's audience is completely different. And they like it, when we came on stage, even those who had never heard us before, they were happy to discover and hear. And people left happy: they came backstage and said they liked our music.[9]

I think artists should be like that, should help each other. I've always liked to perform with other artists, because I think I'm contributing something to them as well as they're contributing something to me. Paul's record was big, but in the show, all of us contributed something to make the show the success that it was. I'm very grateful to him, because I feel, through his show, I was able to...[9]

245

...come back here and renew my old friendships and fans. People are quite happy that I'm here.[10]

Even though Paul Simon used South African township musicians and South African township music, he has a style all his own, and his style and my style are completely different. I don't want to measure anything I do against what Paul Simon does, or any other artist for that matter. I think that is the spirit of competition that I never was used to, and will never get used to. I always feel that I am going to do what I'm doing. If it works, it works. If it doesn't, it doesn't, but I'm not going to measure myself according to so and so.[10]

My door was open before I sang with Paul Simon, before Paul Simon did anything. With his style and his mixing of our music with his style, it worked for him. It was very good. Maybe more young people are talking about South African music because of Paul Simon.[10]

That doesn't mean that it opened my door, because my door was opened before that. I never sold millions, but my first performance in this country was on the first of November 1959, on Steve Allen's show, which was viewed by 60 million people. Then, I opened at the Village Vanguard the next day. I've stayed here for the next ten years, when in fact, I was only supposed to stay for four weeks. So my little door was there, because I came from nowhere to stay for four weeks, and I wound up staying for ten years and working everywhere.[10]

I've never sold records like Paul Simon has, because it's not the same thing. That's why I don't like the comparison. I cannot dispute the younger people, simply because I was not here from 1969 until I came back with Paul Simon. I was completely oft the scene in this country. So children who are the age of my grandson, who is twenty-one, most of them do not know Miriam Makeba, except for children who have parents who are my fans, who heard the music in their homes. That was not because of anything else except the fact that I was not here. And coming back with Paul Simon in 1987 was very good for me, because I came back then, and coming back in n show like his was just wonderful for me. I hope that I will not be erased again.[10]

246

"Pata Pata" is the song that really took off for me in the sixties. I wasn't very happy about it. Like, man, let me move away from "Pata Pata." But they say, "Hey, people like 'Pata Pata.'" You have to do what people like.[11]

I remember, I did an interview with Al Jackson on the radio in New York, and when "Pata Pata" played, the phones were blinking and blinking because people were calling. There is a friend of mine, Duma, who said, "You see, when 'Pata Pata' plays, all the phones light up." I always say to him, "Get me away from 'Pata Pata,'" and he says, "You can't do anything about it, because that's the song that became big for you, and because the people like it. You've got to keep singing it."[11]

It's the language. Many of my compatriots say they're from South Africa, they hear, "Can you click like Miriam Makeba?" It's like this language is mine. It's not, but they heard it first from me. It's like the short haircut. Some people would ask me. "Why do you wear your hair natural?" and I said, 'You want me to wear my hair unnatural? You answered yourself. It's natural"[11]

One cannot just stay in one place. You have to grow, you have to change, without changing your basic style. I think I completely changed my style and went to sing jazz or something else, people would be shocked, maybe, unless I put just one song of a different type within my usual type of singing. Then it wouldn't be too much of a shock. We're always afraid to do that, because you don't know the reaction you're going to get from the press, from your fans, from everybody else. I think working with Sipho Mabuse brought something a little bit new from the younger generation in South Africa, because he is still in South Africa, and he came from there to Brussels to work with me on the album.[11]

I always wanted to leave home. I never knew they were going to stop me from coming back. Maybe, if I knew, I never would have left. It is kind of painful to be away from everything that you've ever known. Nobody will know the pain of exile until you are in exile. No matter where you go, there are times when people show you kindness and love, and there are times when they make you know that you are with them but not of them. That's when it hurts.[11]

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...sentence but the judge wouldn't give it to him. So there was a lake at the prison, and he drowned himself. It was a national story, everyone knew about it. It was also the first musical ever in South Africa.[12]

So Todd was trying to raise the money, and we were going to Capetown with this tour. They called Todd and said, "We've got the money for the music." So he had to leave the tour, and we needed a piano player. We went out to look for a piano player; and somebody told us there's a guy who plays cocktail piano in this lounge.[12]

So the leader of the Manhattan Brothers, Kippie Moeketsi, he was our mentor He knew everything from Bach to Charlie Parker; he was a real militant, but Abdullah Ibrahim and myself use a lot of his sounds and methods. He was one of the kingpins of mbaqanga. He died in 1983, at the age of fifty-nine. A great guy, and real activist. I can only compare his political attitude to Miles Davis, but he was even more intellectual, more scholarly. He was very clear about us being exploited. He always told us, "You are being exploited. Remember that. I'm going to teach you that."[12]

- He taught us everything about Charlie Parker and Duke Ellington. He knew everything: "But remember, even the guys I'm teaching you about were exploited. You will never be free until South Africa is free." He was real radical.[12]

Even when we did the musical, some rich white folks who were liberals and like activists raised the money for King Kong. So when it came time to discuss salaries for the band, because it was big money, was going to be a big hit, had a cast of eighty people. They wanted to pay us some menial money, and Kippie was the one to stand up and say, "You've been exploiting us all our lives. This is our big shot." And he asked for ten times more than what they were offering, otherwise the band was going to walk out. He was our representative. And the other guys were trying to calm him down, and saying. "Kippie, be cool man."[12]

And he said, "No, even you have been exploiting me. I want to get as much as I can out of this, and as much as I can for all the guys."[12]

We ended up getting the most money we've ever been paid. Kippie was really fantastic.[12]

252

He was one of the guys who went out and he chose Dollar Brand to replace Todd Matshikiza. He was the musical mentor of the group. So I spent five months on the road with Abdullah.[13]

The tour didn't go so well. These guys were not so popular anymore. Not as popular as they thought they were. So we got stranded on the road. We lived together under very dire conditions. Africans were not allowed in hotels in those days in South Africa, so every town you went to, you lived with families that were into music, and were relatives of people in the group, and stuff like that. There was actually a time in the tour when we had nothing to eat. But Dambuza, the leader of the Manhattan Brothers, wouldn't give us our railroad tickets back. He kept saying, "The next town. The next town is where we're going to make it."[13]

Five months later, Kippie had been drinking, and he pissed on this guys pants. The audience couldn't see, he said, "Dambuza. I want In go home," and pissed on his pants.[13]

They were doing these steps and you could here the water go slosh. Dambuza looked back and said, "Kippie, I'm going to kill you." And we're all dying of laughter.[13]

So the tour was over, and we finally got home, because Kippie pissed on the guy's leg, and the guy was going to kill him, but the guy finally saw the sense. And my parents, they gave me a rough time about playing music. They said, "We told you. don't be a musician stay in school." I came back weighing 110 pounds.[13]

Abdullah went back to Capetown. I went home and formed a trio.[13]

We went and did this musical, King Kong, which was a smash, ran for about a year and a hall. By the time we were finished, Dollar had his trio, and they were playing a place called the Ambassador Jazz Club. We called each other, and myself, Kippie, and another guy decided to go to Capetown to join Dollar's trio, and we became the Jazz Epistles. We played at the Ambassadors for two months, and you couldn't get into the place. That's when we did all our compositions. Then we moved up to Johannesburg. We were the first group, first African group to do an LP. And then we became a household name.[13]

253

We were about to embark no a national tour when Sharpeville happened and gatherings of more then ten people were banned.[14]

I'd been waiting for a passport, and my passport came through during that waiting period. The band came on in March, and in May, two months later, my passport came through and I left. Since then, I've never really played with Abdullah. I've seen him, but I've never been on his shows. We've never had the opportunity to play together, partly because we're never in the same place, and partly because we've grown in different directions.[14]

He was like the free spirit musically. Him and Kippie. They'd go into an avant garde spin. They were heavy into avant garde. Dollar was really the biggest, I would say he's the authority on Monk. Dollar is Monk right up to lifestyle.[14]

I think it was the inconsistencies and conditions in the environment that made it impossible for me to do the kind of albums that I'm doing now. When I came here, I was alone, and I didn't have access to people who were familiar with the South African dance band medium. So, I ended up with a hybrid, because the musicians that I was playing with when I started were Americans. Su I had to write everything down and explain to them. The groove was difficult for them.[14]

I think that today people have become more universal, and that the younger musicians I usually work with are Americans. They're graduates of the Berkelee school of music. But they know as much, and sometimes even more, about African music than I know. And they are as much scholars of African music as I was of American music when I came here, because I came here as a bebopper.[14]

In South Africa what's amazing—Dizzy said, “I want to join your revolution because it's got so much music. The only thing we had was 'We Shall Overcome.' Every time I see South Africa on TV, they've got a new song."[14]

I said, "I don't know when they rehearse, who writes the lyrics, when they compose the songs, but it's topical. Everything is topical. And they have the choreography down, too. Where do thirty thousand people get together to rehearse something like this?"[14]

254

But South Africa is such a musical place. It's like the Caribbean or Brazil or Zaire is a lot like that. lt lives by music.[15]

Music in Africa is a ceremonial thing. It's used for every occasion. I think it's one of the things that frustrates the colonial mentality. And it saves us. If we were like the Native Americans, purely like a warlike people, I think the music has saved us, because we always go back and sing about what's happening to us. It is the thing that has sustained us. Sometimes, instead of fighting, we'll just sing about it. Most of the time, I think that is what sustained the African American. They were brought here as slaves, they were shackled and whipped, but they sang their asses off. And today, the African American influences 80 percent of popular music. They may not get the returns, but they definitely influence it. And it's a thing that under the conditions and brutality that Africans internationally have had to develop behind, whatever they are given the opportunity to do, they excel in it.[15]

I've also spent a lot time in southern Africa, in Zimbabwe. I lived for four years in Botswana. There are more Botswanans living in South Africa than there are in Botswana. The borders are artificial colonial borders, so it's a great mbaqanga area. And I was able to stop writing music on paper. I found a band that just knew everything that I'd ever done, and every other classic.[15]

I'd sooner be in Botswana now. The reason I left Botswana, there was a South African commando raid on Botswana, and they killed all my friends, all my friends. including the fellow who encouraged me to come to Botswana. Our mothers were friends. we were childhood buddies. And when I was in Lesotho to perform in 1980—I had gone with Miriam Makeba to perform there—we hadn't been in the area in twenty years. I was supposed to go to Botswana to perform, Lesotho and Swaziland. And the governments ol Botswana and Swaziland cancelled our concerts. There was a "cholera epidemic." The government was so scared of the impact of our return. So the Lesotho government said, "Fuck it. There's no cholera here.“ And we played to seventy-five thousand people, Christmas Day 1980.[15]

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But they use that. They say, "If we are so bad. would we allow Graceland? ll we were so bad, would there be a Miriam Makeba, Dollar Brand, Hugh Masekela?"[16]

But what the world doesn't realize is that we are just one percent of one percent, and probably not the most capable, of the artists. But now, we've got a little network, there are a lot of artists who go home, who go in and out.[16]

I think that the only other stage now is to be able to go to a free South Africa and play with guys like Philip Tabane. Philip Tabane is one of our most talented musicians. I'm looking to do an album with him, to produce an album. He is somebody I really admire. He has been doing what he is doing for thirty years.[16]

There are so many great musicians in South Africa. I think that the main problem is that the great artists who are not mainstream in South Africa, guys like Philip Tabane, should be very popular artists internationally, because of what he does, but is not known because somebody has to recognize him, identify him, he has to get an international deal, the record company has to believe that he means something, and give him exposure. When he played at the Apollo, it flipped out the audience. People were on their feet. And they had unbelievable reviews, and then nothing happens alter that.[16]

Being a sangoma doesn't necessarily make you a great artists. It makes you a member ol a certain cultural tradition. I think that more than being a sangoma, Philip Tabane is a great artist. I think that if he just got the right kind of attention, he would fly. But he is one of thousands of people who need a shot.[16]

The main thing is, not only South African artists, but African artists, shouldn't have to come overseas to get recognition. But we're living in a situation where we still have a postcolonial structure in Africa, where anyone who is in recreation or entertainment was originally looked upon as a lazy native, so an infrastructure for the music industry was never really formed in Africa. It is now in its infancy. I would like to help to hurry it up. African artists should not have to 'come from overseas and grovel for attention because there are enough people in Africa to support them, and they can live as well as salsa musicians or samba musicians who come overseas by choice.[16]

257

A person like Philip shouldn't be different from a Milton Nascirnento. He should be able to come over here and go home to a normal society and be appreciated for what he does. He is prevented at home from the people hearing him. The mainstream there is not created by the people. It is created by a record industry that exploits the cheapest desires of African music consumers. In that place, they don't have a space for a person like Philip.[17]

It's the same here in a lot of respects. They go for what's popular, exploit it while it's popular and so a lot of great African American artists making African American classical music, what the media here calls a few things, one of them is Jazz, don't get a shot. I don't know why. There's something sick about this country. Jazz, musicians in this country should have a national endowment, because it is the classical music of this country. If it wasn't for jazz there wouldn't be rock, but racism is so rampant in the industry, that the people who make the music industry what it is get the least benefits from it.[17]

We were in Paris, getting ready to open Sarafina, and we played a month in England. Last Saturday, Sarafina opened in Paris, so I went from Landon to Paris, and I was in the theatre, and someone said, "Fela wants to see you." I saw Fela, and he was doing his new album, Over Takee, Don't Over Takee, Yaa. He's great.[17]

I met Fela. because I had heard about him from a lot of friends when I first came to school. They'd say, "There's a trumpet player just like you in England, his name is Fela." Because he started on trumpet. He picked up the sax when he formed Africa 70.[17]

What happened was, when I peaked here in 1968, I had the number one record in the country for about six weeks. It was incongruous to my political position that I was making all this money, but I came from 27 million oppressed people. And there was something unfulfilling. I had a house in Malibu, I was driving a fancy car, I was living the life, and there just seemed to be an emptiness to success, the way it translated into conspicuous consumption. I felt I wasn't getting enough of what I was about, so I decided that I was going to leave the country.[17]

258

I wanted to go to South Africa, but I couldn't home, because I was at the height of my activist period. lt was the time of the anti-Vietnam war. I was very active. My friends were like Peter Fonda and Crosby and Stills when Crosby was still with the Byrds and Stills was in Buffalo Springfield. The Grateful Dead, the Jefferson Airplane, the Doors, Big Brother and the Holding Company. We were always doing antiwar concerts. Then there was the Black Panthers and Black Power. I was very involved in that.[18]

There was a void in my live. It was great to be involved with American politics, to be antiwar, to be into black power, but still, I was like a Hollywood-type celebrity. I had the fancy car the fancy house by Malibu. I felt I had to get out of the stagnation. I decided to go to Africa. I gave myself a pilgrimage. I bought myself a ticket to about fifteen countries.[18]

I studied in Zaire, and while I was there I saw Franco. I got a house right opposite from his club, and I jammed with him a lot. I was really looking to play with African musicians. I had written to Fela, and he said come over and we'll take it from there. I spent a month with him, and I played with his band a lot. I didn't record with him, but he was helping me find musicians. It was still the same quest. To get closer to the home sod. He said, "The best thing you could do is tour with me. Be a guest artist with the band. So, I did that.[18]

When we got to Ghana, a group called Hedzolleh Soundz opened for him. They really knocked me out. I stayed with that group for about five years; we did about six albums. When I got there I said. "This group knocks me out."[18]

Fela said. "I thought you'd like them. I think you should stay with them."[18]

So he left me in Ghana. I still travel on a Ghana passport. I'm a Ghanan citizen. I speak the languages. I spent seven years, on and off in Ghana.[18]

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  • Kaufman, Alan (9 October 2006). ""Miriam Makeba" from Noise of the World / Hank Bordowitz". The Outlaw Bible of American Essays. New York: Thunder's Mouth. ISBN 1560259353. OCLC 74175340. {{cite book}}: Invalid |ref=harv (help)

HANK BORDOWITZ

"Miriam Makeba" from Noise of the World

WHEN I CAME HERE, I was something completely new, because I sang my songs. I sang my "clicking songs," so it was something completely different. It opened the way for many South African artists, including Hugh Masekela, Dollar Brand, what's his name now? Abdullah Ibrahim. At home he was Dollar Brand. He was best known at home as Dollar Brand. Everyone is in. Paul Simon has opened it even wider.[19]

With Harry Belafonte, I had another vehicle, because when I was performing with him, I was reaching more people. His audience was wide, so is Paul's. So when I'm with him, I'm reaching different people. It is an audience that we might never have reached on our own. Paul's audience is completely different. And they like it, when we came on stage, even those who had never heard us before, they were happy to discover and hear. And people left happy: they came backstage and said they liked our music.[19]

I think artists should be like that, should help each other. I've always liked to perform with other artists, because I think I'm contributing something to them as well as they're contributing something to me. Paul's record was big, but in the show, all of us contributed something to make the show the success that it was. I'm very grateful to him, because I feel, through his show, I was able to come back here and renew my old friendships and fans. People are quite happy that I'm here.[19]

Even though Paul Simon used South African township musicians and South African township music, he has a style all his own, and his style and my style are completely different. I don't want to measure anything I do against what Paul Simon does, or any other artist for that matter. I think that is the spirit of competition that I never was used to and will never get used to. I always feel that I am going to do what I'm doing. If it works. it works. If it doesn't, it doesn't, but I'm not going to measure myself according to so and so.[19]

My door was open before I sang with Paul Simon, before Paul Simon did anything. With his style and his mixing of our music with his style, it worked for him. It was very good. Maybe more young people are talking about South African music because of Paul Simon.[19]

That doesn't mean that it opened my door, because my door was opened...[19]

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314 • Hank Bordowitz

...before that. I never sold millions, but my first performance in this country was on the first of November 1959, on Steve Allen's show, which was viewed by 60 million people. Then I opened at the Village Vanguard the next day. I' stayed here for the next ten years, when in fact I was only supposed to stay for four weeks. So my little door was there, because I came from nowhere to stay for four weeks, and I wound up staying for ten years and working everywhere.[20]

I've never sold records like Paul Simon has, because it's not the same thing. That's why I don't like the comparison. I cannot dispute the younger people, simply because I was not here from 1969 until I came back with Paul Simon. I was completely off the scene in this country. So children who are the age of my grandson, who is twenty-one, most of them do not know Miriam Makeba, except for children who have parents who are my fans, who heard the music in their homes. That was not because of anything else except the fact that I was not here. And coming back with Paul Simon in 1987 was very good for me, because I came back then, and coming back in a show like his was just wonderful for me. I hope that I will not be erased again.[20]

"Pata Pata" is the song that really took off for me in the sixties. I wasn't very happy about it. Like, man, let me move away from "Pata Pata." But they say, "Hey, people like ‘Pata Pata.' " You have to do what people like.[20]

I remember, I did an interview with Al Jackson on the radio in New York, and when "Pata Pata" played, the phones were blinking and blinking because people were calling. There is a friend of mine, Duma, who said, "You see, when ‘Pata Pata' plays, all the phones light up." I always say to him, "Get me away from ‘Pata Pata,' " and he says, "You can't do anything about it, because that's the song that became big for you, and because the people like it. You've got to keep singing it."[20]

It's the language. Many of my compatriots say they're from South Africa, they hear, "Can you click like Miriam Makeba?" It's like this language is mine. It's not, but they heard it first from me. It's like the short haircut. Some people would ask me, "Why do you wear your hair natural?" and I said, "You want me to wear my hair unnatural? You answered yourself. It's natural."[20]

One cannot just stay in one place. You have to grow, you have to change, without changing your basic style. I think if I completely changed my style and went to sing jazz or something else, people would be shocked, maybe, unless I put just one song of a different type within my usual type of singing. Then it wouldn't be too much of a shock. We're always afraid to do...[20]

314

Hank Bordowitz • 315

...that, because you don't know the reaction you're going to get from the press, from your fans, from everybody else. I think working with Sipho Mabuse brought something a little bit new from the younger generation in South Africa, because he is still in South Africa, and he came from there to Brussels to work with me on the album.[21]

I always wanted to leave home. I never knew they were going to stop me from coming back. Maybe, if I knew, I never would have left. It is kind of painful to be away from everything that you've ever known. Nobody will know the pain of exile until you are in exile. No matter where you go, there are times when people show you kindness and love, and there are times when they make you know that you are with them but not of them. That's when it hurts.[21]

I was banned from going home. I am still banned, but in the past year, I got phone calls from home from people saying that the government said I could come home if I want to and I apply for a visa, just like anybody else, because I'm not South African any more. I told the newspaper guy who called me, "Well, you can tell them that I consider myself South African, always South African" If I have any other travel document that I am using, it is an honorary one, because I never renounced my citizenship of birth, and second, we have leaders who are in prison; we have a state of emergency that keeps our people in prison. If they say we can come home, then lift the state of emergency, release all our people from prison, and let all our exiles come back home and be free, to come back home and vote for whomever we want to vote for. We might surprise them. We might vote for one of them. They don't know that. They should give us at least that opportunity. For me to just be told I can go home, why was I told that I couldn't go home in the first place. I never understood that.[21]

I must say I was the first person to come over and let people discover a little of our culture, not only of South Africa, but of Africa. That's why they call me Mama Africa. I always knew that it was possible. All I needed to do was be here. I'm very confident about that because I know I have something different and special to give. There aren't too many Makebas.[21]

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PART 3 Music: and Social Transformation

My Story

Miriam Makeba

Singer, songwriter, author, actress, former UN ambassador and outspoken anti-apartheid activist, Miriam Makeba was the first African recording artist to be awarded a Grammy. She began her career in the 1950s with groups such as The Manhattan Brothers, then formed her own female vocal group, the Skylarks. Banned from returning to SA after she toured overseas with King Kong, she was in exile for 30 years, in the US then Guinea. She returned to SA in 1990.[3]

On stage I wear the robe that belonged to my mother, the isangoma. The colours swirl and come together on this robe, they are the dark brown of the earth, and the deep blue of the sky. I do not wear this heirloom from my mother all the time, only every so often. And every so often, a strange thing happens when I sing. I do a song, but I am not conscious of it. After we leave the stage, I ask my musicians, 'Did I sing such-and-such song?' 'Oh, yes', they tell me. But I have no memory of it, When I see films of the show or listen to tapes, there I am, dancing with all the life that is in me, and there is my voice and no other's. I cannot explain why I should 'black out'. And no one can explain it to me.[3]

I used the expression, 'dancing with all the life that is in me'. During a trip to Swaziland in 1980, it is first suggested that the life that is in me may be more than just my own. l meet my niece Yvorne, who lives here in Swaziland. Yvorne, whose African name is Nonsikelelo, is very dear to me. I thank my ancestors and the Superior Being and anyone else who has favoured me with her, because Yvorne is the only one of my family I can see and touch in my exile. When I left South Africa, it was she who did what I once did and assisted my mother when the omadlozi came and my mother went into one of her trances. Yvorne knows all about isangomas. She takes me to consult with one. This is a task that all my people must do if they are ill, or if they want word of their ancestors, or if strange things are bothering them.[3]

The isangoma, a young woman, talks to me in her hut. She doesn't know me at all, but she asks, 'Don't you sometimes feel that you didn't sing this or that song when you perform?' I am amazed. She then tells me what others have suggested over the years: that I, like my mother, am possessed by amadlozi. I have always wondered about this. My mother's spirits almost destroyed her before she went through ukuthwasa. If a person who is it channel for spirits suppresses them, they can make that person ill, or even kill them. If I am a channel for some spirits, like...[3]

138

...my mother was, why don't they make themselves known to me by causing illnesses or misfortune?[22]

But they have made themselves known, the isangoma says. My spirits are stealing the show! Amadlozi are show-offs. This is why they made my mother dress in their clothes and carry on when she was in their spell. I sing before the public, and the spirits get a chance to steal my mind and present themselves. That is why to this day I have been excused, and I may still be excused from going through the hard ordeal of ukutlrwasa and becoming an isangoma.[22]

[...]

For many years they have called me 'The Empress of African Song'. But when Swiss television comes to do a documentary about my life, they choose the title Mama Africa. In Europe there is a film competition among the French-speaking nations teaming with French-speaking African nations. Switzerland chooses Guinea instead of the Ivory Coast, Gabon, Senegal, or the other former French colonies because I live here and they want to use me as their subject.[22]

To the film-makers I represent the continent and its music to the Western world. African music, though very old, is always being rediscovered in the West. Then it becomes new, and very hip. Just recently I was in Nuremberg, Germany. My new manager. Willie Leiser, booked me into a rock festival, I did not know why. The main group was The Who, and the other groups were also rock 'n' roll. When I came on, the young people in the audience did not know what to make of me. They suddenly became the most hostile audience I ever had. And for the first time in my life things were thrown at me: beer cans. paper airplanes. I almost walked off stage. But something told me I should continue. But I was angry! My anger must have gone into the force of my singing, because the audience was silent before I could finish the song. When I was done they were just standing there. And by the end of my set. they were screaming. When l my musicians and I left the stage, the screaming went on and on for so long. I had to be called back.[22]

139

Discography

[edit]

Mondo TV

Moogfest

[edit]

"When I opened the T-burg shop, I thought I was going into the electronic kit business," Moog told the Chronicle. "Then I met a composer who wanted to make electronic music on tape. We got together just for fun."[23]

Today the once-cumbersome synthesizer fits on a microchip. Car alarms, computer chimes and the sound signatures of products like Maxwell House coffee are all sonic concatenations of Moog's original works.[23]

Minimoog/Emerson live...Wakeman/solo instrument....

"Until Bob Moog came along, we (keyboard players) were hidden in the background. He gave us an instrument that can cut through concrete and frighten guitarists to death," growled Rick Wakeman, the hulking, platinum-blonde keyboard player for the progressive rock band Yes.[24]

"Emerson came out with a cape, he brought his vintage, 8-foot-tall Moog that had to be carted in with its own truck!”[25]

"Bob was very grateful, it was a very emotional night for him to have people who he helped over the years come and pay tribute to him. He came out on stage, spoke, and introduced the closer, Keith Emerson, who was a spectacle; Emerson came out with a cape, he brought his vintage, 8-foot-tall Moog that had to be carted in with its own truck!"[25]

Such resounding success energized Carlini and he was soon planning another Moogfest for the following May, but as the event approached, he encountered unexpected resistance from Moog Music regarding Bob’s involvement. “I didn’t know that Bob was ill; Mike Adams didn’t want to divulge that Bob was sick. I said ‘Bob has to show up; the festival is centered around him! He needs to make an appearance, even if for 20 minutes.’ I kept pushing, and Bob emailed me and said ‘I’m having some life challenges and I am unable to come out, as much as I would love to be there.’”[25]

"The other major change was to recast Moogfest as a contemporary music event that celebrates a new generation of musical performers who are pushing the boundaries of electronic music. We also opened it up so that it wasn't strictly about artists playing Moog instruments, though many if not most do, but rather about Bob Moog's legacy as innovator who opened up a whole new toolbox to inspire the creative imagination of generations of musicians. We love the history of Moog and many of those classic artists too—we intend to include them in future festivals—but we wanted Moogfest to be a celebration of the present and the future, and not only the past."[25]

ASHEVILLE, N.C. — Mark Mothersbaugh, the keyboardist and singer of Devo, reminisced on Friday night about visiting the R. A. Moog Company’s synthesizer factory in Buffalo some time in 1971 or 1972. “It was like heaven,” he said. He was onstage here at Moogfest, a three-day festival with more than 60 acts — bands and disc jockeys, theremin soloists and professed synthesizer geeks — to celebrate the Moog synthesizer, an instrument that transformed music by giving composers countless new sounds.[26]

At the factory, Mr. Mothersbaugh said, he saw shelves holding rows of Minimoogs, the pioneering, suitcase-size synthesizer that was introduced in 1970 and made electronic music portable. It was, he declared, “the most futuristic thing I’d ever seen.”[26]

That future was four decades ago, before digital synthesizers, laptop computers and smartphones put the tools for electronic music on desks and in pockets. Moog Music, as the company was renamed, is now in Asheville, in the mountains of western North Carolina where Robert Moog (pronounced to rhyme with “rogue”), the inventor behind the synthesizer, lived from 1978 until his death, in 2005.[26]

The nonprofit Bob Moog Foundation is raising money to build a “Moogseum” here based around Mr. Moog’s extensive archives, and it presented daytime panel discussions on the history of the synthesizer, featuring Mr. Moog’s collaborators and resurrecting some of his early equipment. A display case at the Orange Peel, a club commandeered by Moogfest, held a Minimoogseum: a history of the Minimoog and a playable theremin.[26]

But Moogs were not mandatory for acts wanting a festival booking. “It’s a thread, it’s not a box,” said Ashley Capps, whose company, AC Entertainment, produced Moogfest.[26]

Matmos, an electronic duo whose brilliant set built terse loops into overarching, evolving structures — largely meditative, occasionally wry — confessed that it was using Roland synthesizers. There were also Korgs, Yamahas, Nords and plenty of unassuming laptops, many of them loaded with Moog samples, in a lineup oriented toward the electronic and the experimental.[26]

Mr. Moog’s original 1964 synthesizer — he called it the Abominatron — was bulky, balky and sometimes unpredictable. It was analog, not digital, creating sounds by sending a continuous electronic signal to a speaker, not a stream of numbers through a converter. To analog devotees that continuous signal is intrinsically superior to digital music, which reproduces sound with tens of thousands of samples per second, which means tens of thousands of infinitesimal gaps between them. Analog sound, said Amos Gaynes, Moog Music’s applications engineer, has infinite resolution, “down to the granular level at which reality is perceived.”[26]

The first commercial Moog synthesizers could play only one note at a time, not always in tune. Early synthesizer users had no preset sounds to fall back on: they plugged in patch cords, turned knobs and experimented. A musician could create a sound, but the synthesizer had no memory; once the sound was changed, it was gone, possibly forever. Heat and humidity also affected the instrument. When digital synthesizers arrived, in the 1980s, sales and prices plunged for those primitive analog synthesizers. They seemed destined for obsolescence.[26]

But not so fast. From their sometimes-unstable oscillators, filters and amplifiers, Moogs and other analog synthesizers produced sounds that more reliable digital synthesizers would not: buzzes, swoops, whooshes, scrapes, gurgles, screeches, burps, crackles and countless other onomatopoeia-worthy noises. Interactions among the waveforms that were generated by the oscillators, and modulated by waveforms from other oscillators, or from a noise generator, were often untamed. Turning a knob or wiggling a wheel on the Minimoog could radically change a timbre in mid-note, making it feel more handmade, less synthetic. Analog sounds are a funky corrective to sterile digital tones; colliding waveforms make a beautiful noise.[26]

Moogfest was a festival of strange sounds and monumental beats, of drones and loops, and of synthetic tones that grew to feel natural. For extra oddity a good part of the audience wore Halloween costumes all weekend.[26]

Neon Indian’s wistful pop marches emerged from thickets of staticky synthesizer noise and disappeared back into them. Panda Bear, from Animal Collective, sang high, chantlike melodies over unswerving synthesizer and guitar drones in what came to sound like cries from the heart. Omar Souleyman, from Syria, sang heartily about love and street life over booming 4/4 drumbeats, while his keyboardist simulated traditional Middle Eastern instruments on two synthesizers. Emeralds played one continuous, very gradually unfolding song, with Moog sounds rippling and percolating through it.[26]

From their laptops and mixers, disc jockey-producers dispensed reveries and onslaughts. Saturn Never Sleeps, the duo of King Britt and Rucyl (both working mixers) backed Rucyl’s airy, echoing voice with fits and starts of percussion and a bass undertow. Mimosa played quick-change remixes, switching from verse to verse among harsh drumbeats, quasi-classical strings, even a little ragtime. Ikonika played a magnificently aggressive set of revved-up hyperdub, a blitz of drumbeats.[26]

Moogfest even included unsynthesized music, in two sets of lapidary, elegant pop by Clare and the Reasons, who played Clare Muldaur Manchon’s songs and then backed up the elusive songwriter (and Beach Boys collaborator in the 1960s) Van Dyke Parks.[26]

For younger bands analog synthesizers are a means to summon and twist nostalgia. Moog sounds are inseparable from some of the most influential music of the 1970s: new wave, synth-pop, funk. Gerald Casale of Devo said in an interview that in Devo’s music “we called the Moog a poison gas vapor,” adding, “It was allowed to come in and swirl around and interject rude and random things that didn’t fit a rock ’n’ roll lexicon. We were hoping for that.”[26]

The original Minimoog benefited not only from its portability but also from a design flaw. Bill Hemsath, who was Moog’s chief engineer and the main inventor of the Minimoog, revealed that some specifications for the Minimoog’s filter section were incorrect, overdriving it by about 15 decibels. “Nobody caught it, and it went into production,” Mr. Hemsath said, adding that it gave the Minimoog a ferocious bass sound musicians soon exploited.[26]

The synthesizer bass lines that pumped through 1970s funk — and have been recycled by hip-hop — were spearheaded by the keyboardist Bernie Worrell in Parliament’s 1977 song “Flash Light” using three connected Minimoogs; he has also received a Moog Award. Mr. Worrell performed at Moogfest with Headtronics, a trio with drumbeats and vinyl scratching from DJ Spooky and Freekbass on bass; he poked and teased at the melodies, making his Minimoog cackle and whoosh. “It’s a dinosaur, but you still can’t beat that sound,” he said in an interview.[26]

The comeback of analog synthesis has been accelerated by software that simulates the interactions of the old oscillators, filters and amplifiers. Instead of pampering some aging (and increasingly expensive) equipment, computer users can, if they wish, turn an infinite number of virtual knobs and plug in an infinite number of virtual patch cords — and then, if they wish, output the digitally generated voltage through analog components. Moog Music recently released an iPhone app, Filtatron, that looks like classic Moog modules and creates similar sounds. “This is actually the best time in human history to be into analog synthesis,” said Mr. Gaynes, the applications engineer.[26]

At Moogfest what once seemed primitive was claiming its own future.[26]

This year, under the guidance of AC Entertainment (which also produce Bonnaroo Music and Arts Festival and the Big Ears Festival) Moogfest is shaping up to be an undeniable mix of some of electronic music’s best with scheduled performances by notable artist such as M83, the Flaming Lips, SBTRKT, St. Vincent, Amon Tobin, STS9, Flying Lotus, Toro Y Moi, Twin Shadow, Chromeo, TV on the Radio, Moby, Crystal Castles, James Murphy (of LCD Soundsystem), Tangerine Dream, Neon Indian, Battles and Ghostland Observatory.[27]

Think about midcentury sci-fi and horror flicks. Do you remember those haunting tones that heralded the presence of aliens or ghosts? That sound was made by a theremin, and Bob Moog might have built it. As a teen in the ’50s, he began making and selling his own version of the electromagnetic noisemaker. Then he took what he learned and created the first relatively cheap and commercially available analog synthesizer in 1964. His ever-expanding line of instruments would go on to be used by rockers like the Beatles, electronic music pioneers Kraftwerk, and composers of a slew of classic movie soundtracks (think John Carpenter’s Halloween or Wendy Carlos’ chilling scores for The Shining and A Clockwork Orange). Moog died in 2005, but his eponymous company remains a popular manufacturer of theremins, and its synths are still favorites of acts from the Beastie Boys and Air to Ben Folds and Dr. Dre.[28]

But rather than bringing only the biggest names in electronic music, there was an initiative to include the underground scene following the Moog spirit of innovation and creativity, says Jeff Cuellar, AC Entertainment director of connectivity.[27]

“Even though the lineup is primarily electronic, it's not about limiting the festival to a particular genre, but rather to cherish the daring vision of an artist pushing the boundaries of music,” Cuellar said.[27]

Moogfest got it start in New York City, but last year made the transition to North Carolina. With the move, the festival has been allowed to spread throughout downtown, where it will be held in some of the city’s best clubs, surrounded by the beauty and history of Asheville.[27]

Speaking with GateHouse Media, Cuellar said that in the second year of Moogfest under AC Entertainment, guests and artists should expect great things.[27]

“Last year we had a great time,” he said. “This year, we’re looking to top it and we’ve got a lot planned for those three days.”[27]

Cuellar said that the core of Moogfest has been the community of artists combined with the location of Asheville.[27]

“The downtown is gorgeous, and I think it’s perfect to have the event right there so people can just walk around and see the city while enjoying some of the best music out there now,” he said.[27]

Cuellar said that Moogfest provides an opportunity for artists and fans alike to gather together for a weekend full of collaborations.[27]

“Usually artists just come in for the day they’re playing at a festival, they play and then they leave,” he said. “But here the musicians are excited to perform as well as hang out with other artists, which sometimes leads to some amazing collaborations on stage.”[27]

In addition, Cuellar said, the fact that Moogfest falls on Halloween this year should knock the festival excitement up a few notches.[27]

“We’ll be dishing out treats for the fans and you’ll find more about that as we get closer, but we’re very excited about the atmosphere, the mind bending music and all of the side events we have planned for that weekend,” Cuellar said.[27]

http://www.glidemagazine.com/articles/57651/flaming-lips-passion-pit-tv-on-the-radio-onboard-for-moogfest.html

The Flaming Lips, Moby, Passion Pit, STS9, Tangerine Dream, TV on the Radio, Special Disco Version featuring James Murphy and Pat Mahoney (DFA/LCD Soundsystem), Umphrey’s McGee, Chromeo, Crystal Castles, Amon Tobin: ISAM Live, Flying Lotus, Suicide (playing their legendary first album in its entirety), Ghostland Observatory, Childish Gambino, M83, Neon Indian, St. Vincent, Beak>, Matthew Dear, Tim Hecker, Anika, Toro Y Moi, Zomby, John Maus, CANT, and Oneohtrix Point Never, are just some of the many stellar acts gathering for this year’s Moogfest, the annual festival celebrating the vision of sonic pioneer Bob Moog, happening October 28-30 in Asheville, NC. Also Brian Eno’s extraordinary video installation, 77 Million Paintings, will be exhibited for the first time in the United States outside of the West Coast. Eno will also present his mind-expanding “Illustrated Talk.” The day-by-day breakdown is below.

Also, Moogfest 2011 is expanding in a big way. In addition to concerts at the Asheville Civic Center Arena, Thomas Wolfe Auditorium, and the Orange Peel, new venues for the weekend will include the newly renovated Asheville Music Hall (formerly Stella Blue), the beautiful and intimate Diana Wortham Theatre, and news of an outdoor venue will be announced soon.

Additionally, details surrounding the fine arts component of Moogfest are ready to be shared. SYNTH: A Group Art Show Inspired by Bob Moog, is a showcase of handmade limited-edition screen prints by some of the top concert poster artists and graphic designers working today. This year’s show will also feature a special limited edition print created by The Flaming Lips’ Wayne Coyne. All proceeds from SYNTH go to support the Bob Moog Foundation. For more information and a list of confirmed artists, visit www.moogfest.com.

Of course, there is a ton more in store – information on this year’s workshops, interactive experiences and discussion panels will be announced in the coming weeks. Additionally, this year there will be surprise daytime performances and events all over town on Saturday and Sunday.

Single day tickets are now on sale, and weekend passes are still available at www.moogfest.com. Brian Eno’s 77 Million Paintings and Illustrated Talk are separately ticketed events, specially priced for Moogfest attendees. Visit www.moogfest.com for more information.

Moogfest 2011 Schedule By Day

77 Million Paintings by Brian Eno – runs throughout weekend

http://www.glidemagazine.com/articles/57651/flaming-lips-passion-pit-tv-on-the-radio-onboard-for-moogfest.html

One promoter taking advantage of changing tastes is Ashley Capps. Later this month he is putting on Moogfest, a three-day music festival dedicated to the synthesizer invented by Bob Moog.[29]

Some 12,000 concertgoers paying as much as $350 are expected to attend each day. And all of this, arguably, was made possible by regulators flexible enough to look for alternatives to blocking Live Nation’s deal.[29]

Lineups

[edit]

Music

[edit]

Music genres

[edit]

Rock

[edit]

List of rock genres

[edit]
Music genre Origins Derivative forms Years Popularity
2 Tone Ska, punk rock, reggae, new wave, rocksteady Third wave ska, ska punk 1978−present 1979−1984
Acid house House music, psychedelic music Rave 1983−present 1986−1992
Acid punk Acid rock, punk rock 19xx−present 19xx−xx
Acid rap Hip hop, psychedelic rock, acid rock 1987−present 19??−????
Acid rock Psychedelic rock, garage rock, blues-rock, jazz fusion, rāga Heavy metal, space rock 1967−present 1968−1972
Alternative dance Alternative rock, indie rock, electronic dance music, new wave, electronic body music Madchester, electroclash, new rave 1982−present 1980s, 1990s
Alternative metal 19xx−present 19xx−xx
Alternative rock 19xx−present 19xx−xx
Anatolian rock 19xx−present 19xx−xx
Arena rock 19xx−present 19xx−xx
Art punk 19xx−present 19xx−xx
Art rock 19xx−present 19xx−xx
Avant-garde metal 19xx−present 19xx−xx
Baroque pop 19xx−present 19xx−xx
Beat 19xx−present 19xx−xx
Bisrock 19xx−present 19xx−xx
Black metal 19xx−present 19xx−xx
Blackened death metal 19xx−present 19xx−xx
Blues-rock 19xx−present 19xx−xx
Brazilian rock 19xx−present 19xx−xx
Britpop 19xx−present 19xx−xx
Bubblegum pop 19xx−present 19xx−xx
C86 19xx−present 19xx−xx
Canterbury sound 19xx−present 19xx−xx
Cello rock 19xx−present 19xx−xx
Celtic punk 19xx−present 19xx−xx
Celtic metal 19xx−present 19xx−xx
Celtic rock 19xx−present 19xx−xx
Chicano rock 19xx−present 19xx−xx
Christcore 19xx−present 19xx−xx
Christian punk 19xx−present 19xx−xx
Christian rock 19xx−present 19xx−xx
Christian metal 19xx−present 19xx−xx
Christian ska 19xx−present 19xx−xx
Coldwave 19xx−present 19xx−xx
Comedy rock 19xx−present 19xx−xx
Country rock 19xx−present 19xx−xx
Cowpunk 19xx−present 19xx−xx
Crossover thrash 19xx−present 19xx−xx
Crunkcore 19xx−present 19xx−xx
Crust punk 19xx−present 19xx−xx
Cuddlecore 19xx−present 19xx−xx
Dance-punk 19xx−present 19xx−xx
Dance-rock 19xx−present 19xx−xx
Dark cabaret 19xx−present 19xx−xx
Darkwave 19xx−present 19xx−xx
Death 'n' roll 19xx−present 19xx−xx
Deathcore 19xx−present 19xx−xx
Deathgrind 19xx−present 19xx−xx
Death metal 19xx−present 19xx−xx
Death rock 19xx−present 19xx−xx
Doom metal 19xx−present 19xx−xx
Dream pop 19xx−present 19xx−xx
Drone metal 19xx−present 19xx−xx
Dunedin sound 19xx−present 19xx−xx
Electric folk 19xx−present 19xx−xx
Electro Punk 19xx−present 19xx−xx
Electronic hardcore 19xx−present 19xx−xx
Electronic rock 19xx−present 19xx−xx
Emo 19xx−present 19xx−xx
Experimental metal 19xx−present 19xx−xx
Experimental rock 19xx−present 19xx−xx
Folktronica 19xx−present 19xx−xx
Folk rock 19xx−present 19xx−xx
Folk metal 19xx−present 19xx−xx
Folk punk 19xx−present 19xx−xx
Freakbeat 19xx−present 19xx−xx
Funk metal 19xx−present 19xx−xx
Funk rock 19xx−present 19xx−xx
Garage rock 19xx−present 19xx−xx
Garage punk 19xx−present 19xx−xx
Glam metal 19xx−present 19xx−xx
Glam punk 19xx−present 19xx−xx
Glam rock 19xx−present 19xx−xx
Goregrind 19xx−present 19xx−xx
Gothabilly 19xx−present 19xx−xx
Gothic metal 19xx−present 19xx−xx
Gothic rock 19xx−present 19xx−xx
Grebo 19xx−present 19xx−xx
Grindcore 19xx−present 19xx−xx
Groove metal 19xx−present 19xx−xx
Group Sounds 19xx−present 19xx−xx
Grunge 19xx−present 19xx−xx
Gypsy punk 19xx−present 19xx−xx
Hatecore 19xx−present 19xx−xx
Hard rock 19xx−present 19xx−xx
Hardcore punk 19xx−present 19xx−xx
Heartland rock 19xx−present 19xx−xx
Heavy metal 19xx−present 19xx−xx
Hellbilly 19xx−present 19xx−xx
Horror punk 19xx−present 19xx−xx
Indie pop 19xx−present 19xx−xx
Indie rock 19xx−present 19xx−xx
Indorock 19xx−present 19xx−xx
Industrial metal 19xx−present 19xx−xx
Industrial rock 19xx−present 19xx−xx
Instrumental rock 19xx−present 19xx−xx
J-ska 19xx−present 19xx−xx
Jam rock 19xx−present 19xx−xx
Jangle pop 19xx−present 19xx−xx
Jazz rock 19xx−present 19xx−xx
Jersey Shore sound 19xx−present 19xx−xx
Krautrock 19xx−present 19xx−xx
Lo-fi 19xx−present 19xx−xx
Lovers rock 19xx−present 19xx−xx
Madchester 19xx−present 19xx−xx
Manguebeat 19xx−present 19xx−xx
Manila Sound 19xx−present 19xx−xx
Mathcore 19xx−present 19xx−xx
Math rock 19xx−present 19xx−xx
Medieval folk rock 19xx−present 19xx−xx
Medieval metal 19xx−present 19xx−xx
Melodic black metal 19xx−present 19xx−xx
Melodic death metal 19xx−present 19xx−xx
Melodic hardcore 19xx−present 19xx−xx
Metalcore 19xx−present 19xx−xx
Mod revival 19xx−present 19xx−xx
Nardcore 19xx−present 19xx−xx
Nazi punk 19xx−present 19xx−xx
Neue Deutsche Welle 19xx−present 19xx−xx
Neo-classical metal 19xx−present 19xx−xx
Neo-folk 19xx−present 19xx−xx
Neo-prog 19xx−present 19xx−xx
Neo-psychedelia 19xx−present 19xx−xx
New prog 19xx−present 19xx−xx
New wave 19xx−present 19xx−xx
Nintendocore 19xx−present 19xx−xx
Noisecore 19xx−present 19xx−xx
Noise pop 19xx−present 19xx−xx
Noise rock 19xx−present 19xx−xx
No wave 19xx−present 19xx−xx
Nu metal 19xx−present 19xx−xx
Oi! 19xx−present 19xx−xx
Ostrock 19xx−present 19xx−xx
Pagan rock 19xx−present 19xx−xx
Paisley underground 19xx−present 19xx−xx
Pinoy rock 19xx−present 19xx−xx
Pirate Metal 19xx−present 19xx−xx
Pop music 19xx−present 19xx−xx
Pop punk 19xx−present 19xx−xx
Pop rock 19xx−present 19xx−xx
Post-Britpop 19xx−present 19xx−xx
Post-grunge 19xx−present 19xx−xx
Post-hardcore 19xx−present 19xx−xx
Post-metal 19xx−present 19xx−xx
Pornogrind 19xx−present 19xx−xx
Post-punk 19xx−present 19xx−xx
Post-punk revival 19xx−present 19xx−xx
Post-rock 19xx−present 19xx−xx
Power pop 19xx−present 19xx−xx
Power metal 19xx−present 19xx−xx
Power violence 19xx−present 19xx−xx
Progressive folk 19xx−present 19xx−xx
Progressive metal 19xx−present 19xx−xx
Progressive rock 19xx−present 19xx−xx
Protopunk 19xx−present 19xx−xx
Power pop 19xx−present 19xx−xx
Psychedelic rock 19xx−present 19xx−xx
Psych-Folk 19xx−present 19xx−xx
Psychobilly 19xx−present 19xx−xx
Punk rock 19xx−present 19xx−xx
Punta rock 19xx−present 19xx−xx
Queercore 19xx−present 19xx−xx
Raga rock 19xx−present 19xx−xx
Rapcore 19xx−present 19xx−xx
Rap metal 19xx−present 19xx−xx
Rap rock 19xx−present 19xx−xx
Riot Grrrl 19xx−present 19xx−xx
Rock Music 19xx−present 19xx−xx
RAC 19xx−present 19xx−xx
Rock and roll 19xx−present 19xx−xx
Rockabilly 19xx−present 19xx−xx
Rock noir 19xx−present 19xx−xx
Rockoson 19xx−present 19xx−xx
Sadcore 19xx−present 19xx−xx
Samba-rock 19xx−present 19xx−xx
Screamo 19xx−present 19xx−xx
Shoegazing 19xx−present 19xx−xx
Shock rock 19xx−present 19xx−xx
Ska punk 19xx−present 19xx−xx
Skate punk 19xx−present 19xx−xx
Skate rock 19xx−present 19xx−xx
Sludge metal 19xx−present 19xx−xx
Soft rock 19xx−present 19xx−xx
Southern rock 19xx−present 19xx−xx
Space rock 19xx−present 19xx−xx
Speed metal 19xx−present 19xx−xx
Stoner metal 19xx−present 19xx−xx
Stoner rock 19xx−present 19xx−xx
Street punk 19xx−present 19xx−xx
Sunshine pop 19xx−present 19xx−xx
Sufi rock 19xx−present 19xx−xx
Surf music 19xx−present 19xx−xx
Surf rock 19xx−present 19xx−xx
Swamp rock 19xx−present 19xx−xx
Symphonic metal 19xx−present 19xx−xx
Symphonic rock 19xx−present 19xx−xx
Synthpop 19xx−present 19xx−xx
Third Wave Ska 19xx−present 19xx−xx
Thrash metal 19xx−present 19xx−xx
Thrashcore 19xx−present 19xx−xx
Trip rock 19xx−present 19xx−xx
Twee pop 19xx−present 19xx−xx
Unblack metal 19xx−present 19xx−xx
Viking metal 19xx−present 19xx−xx
Viking rock 19xx−present 19xx−xx
Visual kei 19xx−present 19xx−xx
Wagnerian rock 19xx−present 19xx−xx
Wizard Rock 19xx−present 19xx−xx

Pequeña Orquesta Reincidentes

[edit]

Pequeña Orquesta Reincidentes is an Argentinian band...

Members

[edit]

Discography

[edit]
  • Tarde (1994)
  • Nuestros años felices (1996)
  • ¿Qué sois ahora? (1998)
  • Pequeña Orquesta Reincidentes (2000)
  • Mi suerte (2001)
  • Miguita de pan (2003)
  • Traje (OuiOui Records 2005)
  • Capricho (OuiOui Records 2007)
[edit]


Ettore Petrolini

[edit]

Albert Plà

[edit]

Discography

[edit]
  • Ho sento molt (PDI 1989)
  • Aquí s'acaba el que es donava (PDI 1990)
  • Una MM... lligada amb un cordill (2 CD - PDI 1991)
  • No sólo de rumba vive el hombre (BMG Ariola 1992)
  • Supone Fonollosa (BMG Ariola 1995)
  • Veintegenarios en Alburquerque (BMG Ariola 1997)
  • Anem al llit (BMG Ariola 2002)
  • Cançons d'amor i droga (2 CD - BMG Ariola 2003)
  • Vida y milagros (CD + DVD en directo - BMG Ariola 2006)
  • La diferencia (El Volcán Música 2008)
[edit]


Antonio Porta

[edit]

Antonio Porta born Leo Paolazzi (9 November 1935, Vicenza, Italy – 12 April 1989, Rome) was an Italian writer and poet.

Biography

[edit]

Antonio Porta,

Bibliography

[edit]
*{{cite book
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  • Calendario, Schwartz, Milan, 1956, as Leo Paolazzi
  • La palpebra rovesciata, Azimuth, Milan, 1960
  • I novissimi, Edizioni de il verri, Milan, 1961
  • Zero, edizione numerata, in proprio, Milan, 1963
  • Aprire, poetry, Scheiwiller, Milan, 1964
  • I rapporti, poetry, Feltrinelli, Milan, 1966
  • Partita, novel, Feltrinelli, Milan, 1967
  • Cara, poetry, Feltrinelli, Milan, 1969
  • Porta, Antonio (1999) [1971]. Metropolis. Green Integer, no. 25 (1st English ed.). Los Angeles: København. ISBN 1892295121. OCLC 42209887. Notes: Poetry book. Finalist at the Viareggio Literary Prize. Translated from the Italian by Pasquale Verdicchio. {{cite book}}: |access-date= requires |url= (help); Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Week-end, poetry, Cooperativa Scrittori, Rome 1974
  • La presa di potere di Ivan lo sciocco, theatrical drama, Einaudi, Turin, 1974
  • Quanto ho da dirvi, collection of poems 1958–1975, Feltrinelli, Milan, 1977
  • Il re del magazzino, novel, Mondadori, Milan, 1978
  • Pin Pidìn, today's poets for children (with Giovanni Raboni), Feltrinelli, Milan, 1978.
  • Passi Passaggi, poetry, Mondadori, Milan, 1980 (Premio " Val di Comino ", finalist at the Premio D'Annunzio awards)
  • Se fosse tutto un tradimento, short story, Guanda, Milan, 1981
  • L'aria della fine, poetry, Lunarionuovo, Catania, 1982 (Premio Gandovere - Franciacorta)
  • Emilio, short poem for children, Emme, Milan, 1982
  • La poesia che dice no, television movie (RAI, Rai Tre, directed by Gianni Jannelli) La Spezia, 1983
  • Invasioni, poetry, Mondadori, Milan, 1984 (Premio Viareggio, Premio Città di Latina)
  • Nel fare poesia, anthology accompanied by notes about his working method, Sansoni, Florence, 1985
  • La stangata persiana, theatrical drama, Corpo 10, Milan, 1985
  • La festa del cavallo, theatrical drama, Corpo 10, Milan, 1986
  • Porta, Antonio (2000) [1986]. Passenger: selected poems, 1958-1979. Picas series, no. 13. Toronto; Buffalo: Guernica. ISBN 0920717640. OCLC 45100695. Notes: Poetry book. Translated from the Italian by Pasquale Verdicchio. First published in a different version by Guernica Editions in 1986. {{cite book}}: |access-date= requires |url= (help); Unknown parameter |coauthors= ignored (|author= suggested) (help)
  • Porta, Antonio (1986). If you see a little bunch of migratory birds, the skylarks of the light. San Francisco: Red Hill Press. OCLC 70316973. Notes: Broadsides, poetry readings book. Printed on gray paper in two columns. Title from first line. Includes bibliographical information and schedule of readings by the poet. Publication date from dealer.
  • Melusina, una ballata e diario, Crocetti, Milan, 1987
  • Porta, Antonio (1987). Kisses from another dream. Pocket poets series, no. 44 (in Italian and English). San Francisco: City Lights Books. ISBN 0872862062. OCLC 15696389. Notes: Italian text, parallel English translation. "Except for a few letters omitted because of their obscure references, this collection reproduces Porta's L'aria della fine in its entirety". Translation of L'aria della fine (1982) translated by Anthony Molino.{{cite book}}: CS1 maint: unrecognized language (link)
  • Il giardiniere contro il becchino, Mondadori, Milan, 1988 (Premio Carducci, Premio Acireale, Premio Stefanile)
  • Partorire in chiesa, short story, Libri Scheiwiller, Milan, 1990
  • Il Progetto Infinito, edited by Giovanni Raboni, Quaderni Pier Paolo Pasolini, Roma, 1991 (distributed by Garzanti)
  • Porta, Antonio (1992). The king of the storeroom. Hanover: University Press of New England. ISBN 081955247X. OCLC 24952603. Notes: Fantastic fiction book; Translation of Il re del magazzino (1978) translated by Lawrence R. Smith.
  • Los(t) angeles, unedited novel, Vallecchi, Florence, 1996
  • Porta, Antonio (1998). Poesie (1956-1988). Oscar Poesia del Novecento, no. 14 (in Italian) (1st Italian ed.). Milan: Mondadori. ISBN 8804455179. OCLC 41628777. Notes: Poetry book. Edited by Niva Lorenzini. Introduction by Maurizio Cucchi. {{cite book}}: |access-date= requires |url= (help); Unknown parameter |coauthors= ignored (|author= suggested) (help); Unknown parameter |lastauthoramp= ignored (|name-list-style= suggested) (help)
  • Yellow, unedited poems, edited by Niva Lorenzini, Mondadori, Milan, 2002

See also

[edit]


[edit]


The Redskins

[edit]

Neither Washington Nor Moscow

[edit]

Untitled
[32]
Redskins, The* ‎– Neither Washington Nor Moscow
Label:
London Records – FLP 1
Format:
Vinyl, LP, Album
Country:
UK
Released:
1986
Genre:
Rock
Style:
Punk, Rocksteady
Tracklist Hide Credits▼
  	Neither Washington...
A1 		The Power Is Yours...

    Mixed By – Steve Street* 

		
A2 		Kick Over The Statues! 		
A3 		Go Get Organized!

    Drums [Additional] – Gorman Mitriole Mixed By – Mark Dodson 

		
A4 		It Can Be Done!

    Mixed By – Mark Dodson 

		
A5 		Keep On Keepin' On!

    Producer – Nick Lowe 

		
A6 		(Burn It Up) Bring It Down! (This Insane Thing) 		
  	Nor Moscow...
B1 		Hold On!

    Mixed By – Steve Street* 

		
B2 		Turnin' Loose (These Furious Flames)

    Producer – Dennis Weinreich, Dick Cuthell 

		
B3 		Take No Heroes!

    Mixed By – Mark Dodson 

		
B4 		The Crack 		
B5 		Let's Make It Work!

    Vocals [Additional] – Bobby de Niro 

		
B6 		Lean On Me!

    Mixed By – Mark Dodson 

		
B7 		'The Return Of The Modern Soul Classic' 		
Credits▼

    Engineer – Rogers*, Hallesy*
    Keyboards – Chris Dean (2), Chris Silagyi, Martin Hewes
    Performer – Chris Dean (2), Martin Hewes, Paul Hookham
    Producer – Chris Silagyi, Pat Foley
    Saxophone [Baritone, Tenor, Alto, Soprano] – Ray Carless
    Trombone, Other [Quarter Bottle] – Trevor Edwards
    Trumpet, Flugelhorn – Kevin Robinson (4)

Notes▼

The inner sleeve finishes the sentence started by the title: "But International Socialism".

B4 is not credited on labels nor sleeves.

B7 is B6 continued.

[33]

Redskins ‎– Neither Washington Nor Moscow
Label:
London Records – 828864-2
Format:
CD, Album, Remastered
Country:
UK
Released:
1997
Genre:
Rock
Style:
Indie Rock
Tracklist Hide Credits▼
1 		The Power Is Yours 	2:09 	
2 		Kick Over The Statues! 	2:28 	
3 		Go Get Organized! 	3:57 	
4 		It Can Be Done! 	3:45 	
5 		Keep On Keepin' On! 	3:51 	
6 		Bring It Down! 	4:32 	
7 		Hold On! 	2:51 	
8 		Turnin' Loose 	3:44 	
9 		Take No Heroes! 	5:00 	
10 		Let's Make It Work! 	3:25 	
11 		Lean On Me! 	5:15 	
  	Bonus Tracks
12 		Keep On Keepin' On! (Ted De Bono 12" Mix) 	3:51 	
13 		16 Tons

    Written-By – Merle Travis 

	5:14 	
14 		Reds Strike The Blues 	5:06 	
15 		99 And A Half (Won't Do)

    Written-By – Footman*, Anderson* 

	3:26

Credits▼

Written-By – Chris Dean (2) (tracks: 1, 2, 7, 10 to 12), Moore* (tracks: 3, 5, 6, 8, 9, 14), Martin Hewes (tracks: 1, 10 to 12), Martin Bottomley* (tracks: 2 to 9, 14), Nick King (tracks: 2 to 9, 14), Paul Hookham (tracks: 1, 10)


Neither Washington Nor Moscow (full title: Neither Washington Nor Moscow... But International Socialism) is the first and last studio album by The Redskins.

Recording and production

[edit]

Artwork

[edit]

Songs

[edit]

The opening track, "The Power Is Yours", was previously released in February 1986 as the sixth Redskins single; while the final single from the album was remixed and released in May along with a promo video of the band busking at a James Brown performance. In total, 5 of the album's 11 tracks were released as singles. [34]

Reception

[edit]
Professional ratings
Review scores
SourceRating
Allmusic[35]

Track listing

[edit]
Standard edition

Side A: Neither Washington...

  1. "The Power Is Yours..." (Chris Dean, Martin Hewes, Paul Hookham) – 2:10
  2. "Kick Over the Statues!" (Chris Dean, Martin Hewes,[n 1] Nick King) – 2:29
  3. "Go Get Organized!" (Chris Dean,[n 2] Martin Hewes,[n 1] Nick King) – 3:58
  4. "It Can Be Done!" (Martin Hewes,[n 1] Nick King) – 3:46
  5. "Keep on Keepin' On!" (Chris Dean,[n 2] Martin Hewes,[n 1] Nick King) – 3:51
  6. "(Burn It Up) Bring It Down! (This Insane Thing)" (Chris Dean,[n 2] Martin Hewes,[n 1] Nick King) – 4:35

Side B: Nor Moscow...

  1. "Hold On!" (Chris Dean, Martin Hewes,[n 1] Nick King) – 2:51
  2. "Turnin' Loose (These Furious Flames)" (Chris Dean,[n 2] Martin Hewes,[n 1] Nick King) – 3:43
  3. "The Crack" – 2:38
  4. "Take No Heroes!" (Chris Dean,[n 2] Martin Hewes,[n 1] Nick King) – 5:05
  5. "Let's Make It Work!" (Chris Dean, Martin Hewes, Paul Hookham) – 3:26
  6. "Lean on Me!" (Chris Dean, Martin Hewes) – 5:15
  7. "The Return of the Modern Soul Classic" – 1:31
1996 Remastered CD
  1. "The Power Is Yours" – 2:09
  2. "Kick Over the Statues!" – 2:28
  3. "Go Get Organized!" – 3:57
  4. "It Can Be Done!" – 3:45
  5. "Keep on Keepin' On!" – 3:51
  6. "Bring It Down!" – 4:32
  7. "Hold On!" – 2:51
  8. "Turnin' Loose" – 3:44
  9. "Take No Heroes!" – 5:00
  10. "Let's Make It Work!" – 3:25
  11. "Lean on Me!" – 5:15
  12. "Keep on Keepin' On!" (Ted de Bono 12" Mix)" – 3:51
  13. "16 Tons" (Merle Travis) – 5:14
  14. "Reds Strike the Blues" – 5:06
  15. "99 and a Half Won't Do" (Steve Cropper, Eddie Floyd, Wilson Pickett) – 3:26

All tracks are written by Redskins (Jaz Coleman, Paul Ferguson, Martin "Youth" Glover, and Kevin "Geordie" Walker)

No.TitleLength
1."Neither Washington Nor Moscow"6:16
2."The Great Cull"5:57
3."Fresh Fever from the Skies"3:23
4."In Excelsis"4:04
5."European Super State"4:42
6."This World Hell"5:27
7."Endgame"4:42
8."The Raven King"6:33
9."Honour the Fire"5:50
10."Depthcharge"4:17
11."Here Comes the Singularity"5:04
12."Ghosts of Ladbroke Grove"6:32

Personnel

[edit]

Charts

[edit]
Chart (1986) Peak
position
UK Albums Chart[36] 31

Release history

[edit]
  • 1986 Neither Washington nor Moscow United Kingdom Vinyl LP Decca FLP1
  • 1986 Neither Washington Nor Moscow (LP, Album) London Records FLP 1 UK 1986
  • 1986 Neither Washington Nor Moscow (LP, Album) London Records 828 009-1 Germany 1986
  • 1986 Neither Washington Nor Moscow (LP, Album) Decca, London Records FLP 1, 42282 80091 1986
  • 1997 Neither Washington ... Nor Moscow (CD, Album, RM) London Records 828864-2 UK 1997
  • 1997 Neither Washington Nor Moscow... [Bonus Tracks], [Remastered] United Kingdom CD London 828864-2


Rondine al nido

[edit]

Selected recordings

[edit]
Year Album
???? Title
  • Performers: performers
  • Conductor: conductor
  • Ensembles: ensamble
  • Released: ???
  • Recorded: date time and place
  • Label: label
  • Notes: "Rondine al nido" features on track ??? sung by ???.

Albums with Complete Performances of the Work
Title Date

  • Luciano Pavarotti in Concert 1987
    • Carreras, Domingo and Pavarotti in Concert 1990
    • Carreras, Domingo, Pavarotti in Concert 1990
    • Carreras Domingo Pavarotti En Concierto 1990
    • The Three Tenors in Concert 1990
  • Popular Songs 1990
    • Luciano Pavarotti in Concert 1991
  • Live in Modena 1985 1993
    • Pavarotti in Central Park 1993
    • Pavarotti in Central Park [DVD Video] 1993
    • Pavarotti: London Records Great Studio Recordings of his Central Park Program 1993
  • Serenade: Lieder-Arien Recital 1993
    • O Sole Mio: Greatest Hits 1994
    • Gigli in Song 1995
  • Beniamino Gigli: The Complete Victor Recordings, Vol. 2: 1926-28 1996
  • Beniamino Gigli: In Opera And Song 1997
  • Canzoni Italiane 1998
  • Beniamino Gigli Interpreta...(Archivio della Romana da Salotto Italiana), Vol. 2 1999
  • The Ultimate Opera Album 1999
  • A Portrait of Pavarotti 2001
  • Pavarotti Edition: Italian Popular Songs 2001
  • Pavarotti Edition [Box Set] 2001
    • Neapolitan Café 2001
  • 6 Decades of Immortal Performances 2001
  • Tenor's Favourite Songs 2001
    • Neapolitan Café 2001
  • Amore: Essential Romantic Collection 2001
  • Camden and New York Recordings, 1926-27 2004
  • Pavarotti: The Three Concerts [DVD Video] [Box Set] 2007
  • Torna a Surriento: Neapolitan & Italian Songs 2004
  • Italy: Greatest Hits 2005
    • Favourite Flavours 2005
  • Große Tenöre der Musikgeschichte, Vol. 2 2006
  • Treasured Songs of Italy and Germany 2007
    • The Original Three Tenors Concert [DVD Video] 2007
  • Mamma 2007
  • Pavarotti: The Studio Albums [Box Set] 2007
  • In Concert 2007
  • Luciano Pavarotti: In Memoriam [Box Set] 2007
  • Leoncavallo, Curtis, Bixio and others
  • His Greatest Hits on Radio
  • Beniamino Gigli-Recital al Teatro Gran Rex di Buenos Aires
  • Famous Italian Songs
    • Gigli in Song
  • 3 Historic Tenors in Concert
  • L'Arte del Bel Canto
    • Mamma
  • Enzo De Muro Lomanto and his wife Toti Dal Monte
  • Beniamino Gigli: Gigli Edition
  • Lebendige Vergangenheit: Giuseppe Valdengo
  • Greatest Hits
  • Pavarotti Forever [DVD Video]
  • Pavarotti a Modena
  • GIGLI, Beniamino: Gigli Edition, Vol. 4: Camden and New York Recordings (1926–1927)
  • GIGLI, Beniamino: Gigli Edition, Vol. 15: Carnegie Hall Farewell Recitals (1955)
  • Vocal Concert: Gigli, Beniamino - TOSELLI, E. / CRESCENZO, V. de / DONAUDY, S. (Archivio della Romanza da Salotto Italiana, Vol. 2) (1926–1947)

Gianni Sassi

[edit]

Gianni Sassi (1938–1993) was an Italian....

Biography

[edit]
[edit]

Midori Seiler

[edit]

Louis Satterfield

[edit]

name = The Phenix Horns
caption = The Phenix Horns starting second from left with Don Myrick on saxophone, Louis Satterfield on trombone, Michael Harris on trumpet and Rahmlee Michael Davis also on trumpet.
alias = EWF Horns
origin = Chicago, Illinois, United States
genre = Funk, jazz, pop, soul, R&B
Formed = 1976
label = ARC, Columbia
website = www.thephenixhorns.com
past_members =Don Myrick
Louis "Lui Lui" Satterfield
Rahmlee Michael Davis
Michael Harris



William Shakespeare

[edit]

Shakespeare's sonnets

[edit]

Sonnet 37 of 154

[edit]

Notes

[edit]
  1. ^ "New Pandemonium" (PHP). hosted-forum.com. Retrieved 14 March 2008.
  2. ^ Eder, Bruce. "( The Brondesbury Tapes (1968) > Overview )". allmusic. Retrieved 6 November 2011.
  3. ^ a b c d e Lucia 2005, p. 138.
  4. ^ a b c d e f g h i j k Nkrumah 2001.
  5. ^ FAO 1999.
  6. ^ Denselow 2008, p. 15.
  7. ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai Jacobson 2008.
  8. ^ a b c d e f g h i j k l m All About Jazz.
  9. ^ a b c d Bordowitz 2004, p. 245.
  10. ^ a b c d e Bordowitz 2004, p. 246.
  11. ^ a b c d e Bordowitz 2004, p. 247.
  12. ^ a b c d e f g Bordowitz 2004, p. 252.
  13. ^ a b c d e f g Bordowitz 2004, p. 253.
  14. ^ a b c d e f g Bordowitz 2004, p. 254.
  15. ^ a b c d Bordowitz 2004, p. 255.
  16. ^ a b c d e f Bordowitz 2004, p. 257.
  17. ^ a b c d e Bordowitz 2004, p. 258.
  18. ^ a b c d e f Bordowitz 2004, p. 259.
  19. ^ a b c d e f Kaufman 2006, p. 313.
  20. ^ a b c d e f Kaufman 2006, p. 314.
  21. ^ a b c d Kaufman 2006, p. 315.
  22. ^ a b c d Lucia 2005, p. 139.
  23. ^ a b Crawford 2005.
  24. ^ Shachtman 2004.
  25. ^ a b c d Lewis 2011.
  26. ^ a b c d e f g h i j k l m n o p q r Belleme 2010.
  27. ^ a b c d e f g h i j k l Forsythe 2011.
  28. ^ Steuer 2011.
  29. ^ a b Cox 2011.
  30. ^ "The Power Is Yours" / "Ninety Nine And A Half (Won't Do)" (Decca F3). Released February 1986. Highest chart position: No. 59.
  31. ^ "It Can Be Done" / "K.O!K.O!" (Decca F4). Released on 5 May 1986.
  32. ^ Neither Washington Nor Moscow (London Records LP FLP 1) at Discogs
  33. ^ Neither Washington Nor Moscow (London Records CD 828864-2) at Discogs
  34. ^ "Redskins (Band history)". Geocities.com. Archive.org. Archived from the original on 27 October 2009. Retrieved 30 October 2013. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  35. ^ "The Redskins - Neither Washington Nor Moscow – Overview". Allmusic. Retrieved 26 November 2010.
  36. ^ "Chart Stats - The Redskins". chartstats.com.

References

[edit]
  • Alden, Raymond (1916). The Sonnets of Shakespeare, with Variorum Reading and Commentary. Houghton-Mifflin, Boston.
  • Atkins, Carl D. (2007). Shakespeare's Sonnets with Three Hundred Years of Commentary. Rosemont, Madison.
  • Baldwin, T. W. (1950). On the Literary Genetics of Shakspeare's Sonnets. University of Illinois Press, Urbana.
  • Booth, Stephen (1977). Shakespeare's Sonnets. Yale University Press, New Haven.
  • Dowden, Edward (1881). Shakespeare's Sonnets. London.
  • Evans, G. Blakemore, Anthony Hecht, (1996). Shakespeare's Sonnets. Cambridge University Press, Cambridge.
  • Hubler, Edwin (1952). The Sense of Shakespeare's Sonnets. Princeton University Press, Princeton.
  • Kerrigan, John (1987). Shakespeare's Sonnets. Penguin, New York.
  • Knights, L. C. (1967). Shakespeare's Sonnets: Elizabethan Poetry. Paul Alpers. Oxford University Press, Oxford.
  • Matz, Robert (2008). The World of Shakespeare's Sonnets: An Introduction. Jefferson, N.C., McFarland & Co..
  • Schoenfeldt, Michael (2007). The Sonnets: The Cambridge Companion to Shakespeare’s Poetry. Patrick Cheney, Cambridge University Press, Cambridge.
  • Tyler, Thomas (1989). Shakespeare’s Sonnets. London D. Nutt.
  • Vendler, Helen (1997). The Art of Shakespeare's Sonnets. Cambridge: Harvard University Press.
[edit]
Wikisource has original text related to this article:

Dmitri Shostakovich

[edit]

Symphony No. 2 (Shostakovich)

[edit]

Chrous: “To October”

[edit]
Text by Alexander Bezymensky[1]



...


References

[edit]
Books
Records

Further reading

[edit]

Yann Tiersen

[edit]

The name Dust Lane partly came from the image of the dirt road going into Gaza.

—Yann Tiersen[2]

Music

[edit]

Live performances

[edit]

«J'ai aimé la vie en bus, ce côté saltimbanque et collectif.»
("I loved the life by bus, this side street entertainer and collective.")

Performing live, along with his collection of vinyl records, is among his greatest passions. His live performances vary greatly. Sometimes he is accompanied by an orchestra and many guest collaborators. Other times, he offers the more frequent minimalistic sessions, usually accompanied only by a drummer/bassist and a guitarist, with Tiersen switching seamlessly between piano, accordion, and violin for his lighter songs, and electric guitar for his louder pieces (where his Avant-Garde music meet some rock sonorities). Lately, however, he has almost banished piano, accordion, and violin, and focused more on his electric guitar and synthesizer instead. Tiersen started his live career by playing guitar for several local post-punk-influenced bands, then he toured Brittany performing alone and playing many instruments. This gave him the reputation of a one-man show, and lead him to perform at the 1996's Avignon Festival.[4]

His third studio album, Le Phare, propelled Tiersen to national acclaim, and this changed the quantity, the quality, and the number of artists involved in his concerts.

On 2 December 1998, Tiersen, accompanied by many guests, was the opening act for the Rencontres Trans Musicales in Rennes. The concert was broadcasted on France Inter for the C'est Lenoir show, producing his first live album, Black Session: Yann Tiersen.[5]



Le Phare (English: The Lighthouse) .... "Sur le fil" has become a live favourite, normally only the violin section performed with great intensity, sometimes even breaking many hairs on the bow.[6]


As Tiersen's acclaim grew, so did the scope of his records. That year's Black Sessions -- a live album of a radio performance -- featured collaborations with Dominique A. and the Divine Comedy's Neil Hannon, as well bands like Les Têtes Raides and the Married Monk, who also appeared on 1999's more rock-oriented album Tout Est Calme.[4]

In this period, Tiersen also took his music out around the world, playing shows with a full orchestra and an amplified string quartet – a set-up captured on 2002’s electrifying live album C'etait ici.[7]

Throughout 2001 and 2002, Tiersen embarked on his most ambitious tours of France and the U.K. to date; this tour was chronicled in 2003's live album C'Était Ici. He also toured frequently, releasing a live album in 2006. Tiersen began a world tour in New York to support the album, and took a brief respite before jumping back into the studio.[4]

In this period, Tiersen also took his music out around the world, playing shows with a full orchestra and an amplified string quartet.[7] On 15, 16, and 17 February 2002, Tiersen with many of the collaborators who participated in the recording sessions for L'Absente plus Claire Pichet, violinists Nicholas Stevens and Renaud Lhoest, bassist Jean-François Assy, viola player Olivier Tilkin, and uilleann pipes, bagpipes, and low whistle player Ronan Le Bars, performed live at the Cité de la Musique (English: City of Music) in Paris. Part of these three concerts went on to form Tiersen's second live album C'était ici ([It Was Here] Error: {{Langx}}: text has italic markup (help)), which was released through EMI France on 30 September 2002.[8]

The subsequent world tour of 2006 replaced the multi-instrumental ensemble with electric guitars and an ondes Martenot, and produced his third live album, On Tour, which was released together with a DVD, directed by Aurélie du Boys, about the tour, in November 2006.

The record was promoted in a tour beginning in October 2010, starting in New York.

On 18 February 2012, Tiersen with Lionel Laquerriere, and Thomas Poli, presented his side project, Elektronische Staubband, at La Route du Rock music festival in Saint-Malo. It was about an hour of krautrock, electronic, and experimental music involving a dozen of synthesizers and analog keyboards with the first three pieces of the set list taken from Dust Lane and the remaining five from Skyline.[9] Tiersen was also chosen by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival on March 2012 in Minehead, England.[10] Skyline was released in North America via ANTI- Records on 17 April 2012, and it was followed by the Skyline Tour with dates in the United States, Canada, Iceland, Spain, Portugal, France, Slovak Republic, Austria, Finland, and the United Kingdom.


As Tiersen's acclaim grew, so did the scope of his records. That year's Black Sessions -- a live album of a radio performance -- featured collaborations with Dominique A. and the Divine Comedy's Neil Hannon, as well bands like Les Têtes Raides and the Married Monk, who also appeared on 1999's more rock-oriented album Tout Est Calme.[4]

Throughout 2001 and 2002, Tiersen embarked on his most ambitious tours of France and the U.K. to date; this tour was chronicled in 2003's live album C'Était Ici. He also toured frequently, releasing a live album in 2006. Tiersen began a world tour in New York to support the album, and took a brief respite before jumping back into the studio.[4]


The live concert with Claire Pichet, Dominique A, Neil Hannon, Bertrand Cantat, Françoiz Breut, The Married Monk, Têtes Raides, the Quatuor à cordes, Olivier Mellano, and Mathieu Boogaerts, on 2 December 1998 at the Théâtre National de Bretagne in Rennes as the opening act of the Rencontres Trans Musicales, marked a change of direction for Tiersen and the one-man show gives way to more artistic collaborations, experimentations, fusion and exchange of different musical genres. His compositions and orchestrations, as well as his live concerts, now involve several other musical instruments and from two to dozens of musicians.


Tiersen favors the piano, violin, and accordion but is also known for his experimentation and use of obscure and found instruments like the ondes martenot and the typewriter.

electric guitar, a cheap mixing desk, an 8-track reel-to-reel audio tape recording, and started recording music solo with a synthesizer, a sampler, and a drum machine.[7]

  • La Valse des monstres – piano, violin, clavecin, accordion, toy piano, melodica, carillon, tubular bells
  • Rue des cascades – violin, accordion, mandolin, bells, harpsichord, piano, old typewriter, strings, banjo, guitar, marmites, melodica, handclaps, toy piano, small pipe, music box
  • Le Phare – violins, accordion, piano, mandolins, guitar, typewriter, small and big saucepans, cooking pot, tam-tam, banjo, harpsichord, oud, acoustic guitar, 12 stringed guitar, toy piano, vibraphone, cello, melodica, chimes, bowed mandolins, bicycles, bontempi, vocals
  • Tout est calme – vocals, guitar, mandolin, violin, viola, cello, banjo, piano, toy piano, organ, bass, melodica, vibraphone, bells, percussion, Leslie speaker
  • Amélie – piano, toy piano, carillon, banjo, mandolin, guitar, harpsichord, vibraphone, accordion, bass, melodica – Yann Tiersen
  • L'Absente – vibraphone, mandolin, accordion, banjo, chime, harpsichord, toy piano, guitar, piano, bass, bells, vocals, Bontempi, typewriter, pot, Elliot's car and music box, viola, tom, cello
  • C'était ici – accordion, piano, violin, melodica, vibraphone, bass, guitar, toy piano
  • Good Bye Lenin! – piano, melodica, violin, and vibraphone
  • Yann Tiersen & Shannon Wright – bass, violin, viola, piano, vibraphone, organ, cello, acoustic guitar, guitar, accordion, horns, marimba, electric piano
  • Les Retrouvailles – accordion, alto saxophone, banjo, bass, Bontempi, carillon, cello, clavecin, double bass, drums, ebow, Fender Rhodes, guitar, Korg synthesizer, mandolin, marimba, melodica, organ, percussion, piano, toy piano, vibraphone, violone
  • On Tour – vocals, guitar, violin, toy piano
  • Tabarly – piano, violin, electric guitar, acoustic guitar, slide guitar, bass, marimba, electric piano, viola, cello, cymbal, drums, ukulele, accordion, tubular bells, vibraphone, clarinet, bass clarinet, bassoon, oboe, flute, melodica, toy piano, carillon
  • Dust Lane – vocals, guitar, keyboards, toy piano, strings, bass, effects, chairs
  • Skyline – toy piano, bass, guitar, synthesizer, vocals, drums, mellotron, accordion, piano, strings, glockenspiel, vibraphone, bouzouki, mandolin, marimba

Le Phare (English: The Lighthouse) .... Typical of Tiersen's work: violin, mandolin, accordion and piano feature heavily, as well as some more unusual instrumentation including a bicycle wheel, typewriters and saucepans.

One year later, in April 1996, he released Rue des cascades, a collection of short pieces recorded with toy piano, harpsichord, violin, accordion, and mandolin.

confirming Tiersen's status as one of the most pioneering and original artists of his generation and commencing a run of successful albums.[7]

The recordings started out as simple song based tracks with Tiersen playing acoustic guitar, mandolin and bouzouki. New layers were added to the recordings creating a more complex sound. Then an array of vintage synthesisers and electric guitars were added to create further textures.[2]

Tiersen with Lionel Laquerriere, and Thomas Poli, presented his side project, Elektronische Staubband, krautrock, electronic, and experimental music involving a dozen of synthesizers and analog keyboards.[11]

Tiersen is considered a sought-after composer, not only for his soundtrack work, but in his own right.[4]

Borrowing from French folk music, chanson, musette waltz, and street music, as well as rock, avant-garde, and classical and minimalist influences[4]

Tiersen's true musical heritage is American and British punk and post-punk - he is more influenced by Joy Division, Michael Nyman and Penguin Café Orchestra than by French chanson. "The same with the accordion. I couldn't play a brass instrument - I tried but I was really bad - I couldn't play the flute, and the accordion was a keyboard so it was easy," he says modestly. "I didn't know French musette music at all. Even people like Jacques Brel - I discovered Brel through Scott Walker. My parents listened to Brel, of course, but when you're a teenager you're not interested. So it was only when I heard Scott Walker's versions that I thought 'this is fucking good', you know. The only French singer I listened to was Serge Gainsbourg." Tiersen would go on to invite Gainsbourg's muse Jane Birkin to guest on Les retrouvailles.[2]


(2003) and Tabarly (2008), a documentary about the French sailor Éric Tabarly, who ate his final meal on Ouessant Island before he meeting a watery end in the Irish sea.[7]


2008 saw his return After a five years absence as a composer of film scores when he provided the background music for Tabarly, a Pierre Marcel's documentary film about the French sailor, two-time champion of the Single-Handed Trans-Atlantic Race, and father of French yachting Éric Tabarly. The documentary was released on June 2008 exactly ten years after his death. Éric Tabarly was lost at Irish Sea when struck by a gaff of his Pen Duick during heavy swell and knocked overboard from his yacht near Wales while on his way to the Fife Regatta in Scotland. His body was recovered five weeks later off the coast of Ireland by a French fishing trawler. The documentary narrator is Tabarly himself while he was eating his last meal in Ushant.[7]

The Paris-based composer became popular outside his native country for his score to Jean-Pierre Jeunet's Amélie, but like most seemingly overnight successes, he had been working for years before the film's success brought him international acclaim.[4]

At the same time, Tiersen was also composing soundtracks for short films and accompaniment for plays. Several of these pieces ended up on his first album, Valse des Monstres.[4]

As Tiersen's acclaim grew, so did the scope of his records. Tiersen was preparing his next album when he was contacted by Jean-Pierre Jeunet, who wanted Tiersen to score his next movie, Amélie. Jeunet had heard Tiersen's music while driving and had been so taken with it that he bought all of Tiersen's albums. Previously, the composer had contributed music to films such as Alice et Martin and La Vie Revee des Angess, but this was his most prominent film work yet. His Amélie score featured new and old compositions, and the film's success spun off to Tiersen's music; the soundtrack sold over 200,000 copies in his homeland.[4]

Later that year, Tiersen's score for Good Bye Lenin! arrived. Tiersen spent the rest of the 2000s alternating between film and pop music, issuing the score to Les Retrouvailles.[4]





In that period Tiersen provided a new arrangement and played strings, vibraphone, bell, mandolin, electric guitar, and bass guitar for the song "A ton étoile" by on their 1997 compilation album One Trip / One Noise.

recorded Bästard ~ Yann Tiersen, a 3-track extended play released in 1997 in collaboration with French electronic rock band Bästard,

Black Session: Yann Tiersen is the first live album of French avant-garde musician and composer Yann Tiersen. The live album was recorded by France International on 2 December 1998 as the opening act of the Rencontres Trans Musicales in the Salle Serreau at the Théâtre National de Bretagne in Rennes, for the C'est Lenoir show broadcasted on the French public radio station France Inter. It was subsequently mastered by Radio France, and released in CD format one year later on 2 November 1999. The album features Tiersen with Claire Pichet, Dominique A, Northern Irish singer, songwriter, and frontman of the chamber pop group The Divine Comedy Neil Hannon, singer and songwriter Bertrand Cantat of Noir Désir, singer and illustrator Françoiz Breut, anglophone French rock band The Married Monk (Christian Quermalet, Philippe Lebruman, Etienne Jaumet, Nicolas Courret), French folk rock group Têtes Raides (Christian Olivier, Grègoire Simon, Pascal Olivier, Anne-Gaëlle Bisquay, Serge Bégout, Jean-Luc Millot, and Edith Bégou), the string quartet Quatuor à cordes, guitarist and composer Olivier Mellano, and author Mathieu Boogaerts.[5]

As Tiersen's acclaim grew, so did the scope of his records. That year's Black Sessions -- a live album of a radio performance -- featured collaborations with Dominique A. and the Divine Comedy's Neil Hannon, as well bands like Les Têtes Raides and the Married Monk, who also appeared on 1999's more rock-oriented album Tout Est Calme.[4]

In 1999, Tiersen released in collaboration with The Married Monk, Claire Pichet, and Olivier Mellano his fourth studio/first collaboration??? album, Tout est calme. The 26 minutes, 10 tracks mini album also saw the participation of the Vienna Symphony Orchestra, American singer, songwriter and multi-instrumentalist Lisa Germano, Neil Hannon, Françoiz Breut, Têtes Raides, Sacha Toorop, the actress Natacha Regnier???, Christian Quermalet, Marc Sens, Christine Ott, the Quatuor à cordes, and Dominique A.[12]

Tiersen is also featured on The Divine Comedy's single "Gin Soaked Boy" released on that same year, and on three tracks for Françoiz Breut's album Vingt à Trente Mille Jours, released in 2000.

His next proper album, 2001's Absente, featured collaborations with Lisa Germano, as well as longtime contributors Hannon and Dominique A. Throughout 2001 and 2002, Tiersen embarked on his most ambitious tours of France and the U.K. to date; this tour was chronicled in 2003's live album C'Était Ici. Les Retrouvailles and the collaboration Yann Tiersen & Shannon Wright in 2005. He also toured frequently, releasing a live album in 2006. Dust Lane, an album focusing on mortality, arrived in 2010. Tiersen began a world tour in New York to support the album, and took a brief respite before jumping back into the studio. The single "Monuments" was released in July of 2011 as an enticement for his next full-length album, Skyline, which was released in Europe on October 17, 2011 and in the United States a week later.[4]

Tiersen's list of collaborators continues to grow album after album. While composing his fifth album, L'Absente, Tiersen lent his *Yann Tiersen – vibraphone, mandolin, accordion, banjo, chime, harpsichord, toy piano, guitar, piano, bass, bells, vocals, Bontempi, typewriter, pot, Elliot's car and music box, viola, tom, cello

  • Christine Ott - ondes Martenot on "À quai", "La Parade", "Bagatelle", "Les Jours tristes", "L'Échec", and "Le Méridien"
  • Ensemble Orchestral Synaxis are featured on "À quai", "La Parade", "Bagatelle", and "Le Méridien"
  • Lisa Germano - vocals on "La Parade" and "Le Méridien"
  • Anne-Gaëlle Bisquay - cello on "La Parade", "L'Échec", and "Le Concert"
  • Bertrand Lambert - viola on "La Parade" and "L'Échec"
  • Yann Bisquay - violin on "La Parade" and "L'Échec"
  • Natacha Régnier - vocals on "L'Échec" and "Le Concert"
  • Dominique A - vocals on "Bagatelle", guitar on "Le Méridien"
  • Christian Quermalet - Rhodes piano on "Bagatelle", drums on "Les Jours tristes", and piano on "Le Concert"
  • Les Têtes Raides are featured on "Le Jour d'avant" and "La Lettre d'explication"
  • Neil Hannon - vocals on "Les Jours tristes"
  • Marc Sens - guitar on "Le Concert"
  • Sophie Naboulay - violin on "La Parade" and "L'Échec"
  • Sacha Toorop - drums on "Bagatelle" and "Le Méridien"
  • Grégoire Simon - saxophone on "Le Concert"


musical talent to Françoiz Breut and Les Têtes Raides for their own albums. Yann Tiersen & Shannon Wright, a collaboration album with American singer-songwriter Shannon Wright, was released in October 2004, and his 2005 album, Les Retrouvailles, featured vocals from Stuart Staples of Tindersticks, Jane Birkin, and Elizabeth Fraser, formerly of Cocteau Twins. Tiersen also played piano on Staples' solo album, Lucky Dog Recordings 03-04.

While he was writing the film score for Amélie Tiersen was also preparing his fifth studio album L'Absente.[13] The album was characterized by several contributions including 35-member Ensemble Orchestral Synaxis conducted by Guillaume Bourgogne, viola player Bertrand Lambert, violinists Yann Bisquay and Sophie Naboulay, Natacha Régnier, and saxophonist Grégoire Simon, and long-time collaborators Dominique A, Christine Ott, Lisa Germano, Neil Hannon, Têtes Raides, Christian Quermalet, Marc Sens, and Sacha Toorop. The album, which was released on 5 June 2001 through EMI France, was preceded by two promotional singles for "A quai" and "Bagatelle" respectively. Tiersen provided strings and vibraphone to two tracks, "Roma Amor" and "Holidays", featured on The Married Monk's compilation album of the same name.

In this period, Tiersen also took his music out around the world, playing shows with a full orchestra and an amplified string quartet.[7] On 15, 16, and 17 February 2002, Tiersen with many of the collaborators who participated in the recording sessions for L'Absente plus Claire Pichet, violinists Nicholas Stevens and Renaud Lhoest, bassist Jean-François Assy, viola player Olivier Tilkin, and uilleann pipes, bagpipes, and low whistle player Ronan Le Bars, performed live at the Cité de la Musique (English: City of Music) in Paris. Part of these three concerts went on to form Tiersen's second live album C'était ici ([It Was Here] Error: {{Langx}}: text has italic markup (help)), which was released through EMI France on 30 September 2002.[14]

On 15 November 2003, Tiersen with Stuart A. Staples, the lead singer of indie band Tindersticks, actress and singer Jane Birkin, singer and vocalist for Cocteau Twins Elizabeth Fraser, singer and songwriter Christophe Miossec, and Dominique A released 3 titres inédits au profit de la FIDH ([3 New Tracks for the Benefit of FIDH] Error: {{Langx}}: text has italic markup (help)), a 3-track CD that was part of the On Aime, On Aide benefit collection for raising funds for the International Federation for Human Rights (FIDH).[15]

Tiersen's list of collaborators continues to grow album after album and in October 2004 released Yann Tiersen & Shannon Wright, a collaboration album with American singer-songwriter Shannon Wright, was released in October 2004, and in the same year he is featured on The Divine Comedy's album Absent Friends.

In 2005, Tiersen released his fifth studio album Les Retrouvailles. The album features several collaborators including the Orchestre National de Paris, singers Elizabeth Fraser, Jane Birkin, Stuart A. Staples, Dominique A, and Miossec, strings players Jean-François Assy, Frederic Dessus, Guillaume Fontanarosa, Bertrand Causse, Anne Causse Biragnet, Armelle Legoff, Frédéric Haffner, flute player Elliott, drummer Ludovic Morillon, and ondes Martenot player Christine Ott. Les Retrouvailles also includes a DVD short film entitled La Traversée, directed by Aurélie du Boys, which documents the making of the album in Ushant, and incorporates an animated video for the non-album track, "Le Train", and also live versions of a handful of songs. The album produced a single, "Kala", sung by Elizabeth Fraser, and Tiersen also played piano on Staples' solo debut album, Lucky Dog Recordings 03-04.

Before the end of the decade, Tiersen contributed to Christine Ott's debut solo album Solitude Nomade, and to Miossec's seventh studio album Finistériens.

October 2010 saw the release of Tiersen’s sixth studio album titled Dust Lane. The album was two years in the making and was largely recorded in Ushant, France. Further parts were recorded in the Philippines. The album is preoccupied with mortality; during the recording sessions Tiersen lost his mother and a close friend. The recordings started out as simple song based tracks with Tiersen playing acoustic guitar, mandolin and bouzouki. New layers were added to the recordings creating a more complex sound. Then an array of vintage synthesisers and electric guitars were added to create further textures.[2][16] The album was released by Mute Records in Europe and ANTI- Records in the US. The record was promoted in a tour beginning in October 2010, starting in New York.[17] Dust Lane was preceded by the release of the vinyl EP PALESTINE and by the single for "Ashes". In 2010, Tiersen also contributed to the tribute album to cross-genre, experimental music group Coil The Dark Age of Love by This Immortal Coil, a one-off tribute formation, and to Li(f)e, the fourth solo studio album by hip-hop artist Sage Francis.

October 2011 saw the European release of his seventh studio album, Skyline. The nine-track album, a follow on from his Dark Lane, was once again recorded at Tiersen's home on the island of Ushant in the south-western end of the English Channel, with further parts recorded in Paris, San Francisco, Berlin, and Nashville. It was subsequently mixed by producer Ken Thomas in Leeds, and mastered by Ray Staff in London.[7] The album produced the singles for "Monuments" and "I'm Gonna Live Anyhow". On 18 February 2012, Tiersen with Lionel Laquerriere, and Thomas Poli, presented his side project, Elektronische Staubband, at La Route du Rock music festival in Saint-Malo. It was about an hour of krautrock, electronic, and experimental music involving a dozen of synthesizers and analog keyboards with the first three pieces of the set list taken from Dust Lane and the remaining five from Skyline.[18] Tiersen was also chosen by Jeff Mangum of Neutral Milk Hotel to perform at the All Tomorrow's Parties festival on March 2012 in Minehead, England.[19] Skyline was released in North America via ANTI- Records on 17 April 2012, and it was followed by the Skyline Tour with dates in the United States, Canada, Iceland, Spain, Portugal, France, Slovak Republic, Austria, Finland, and the United Kingdom.

As Tiersen's acclaim grew, so did the scope of his records. That year's Black Sessions -- a live album of a radio performance -- featured collaborations with Dominique A. and the Divine Comedy's Neil Hannon, as well bands like Les Têtes Raides and the Married Monk, who also appeared on 1999's more rock-oriented album Tout Est Calme.[4]

His next proper album, 2001's Absente, featured collaborations with Lisa Germano, as well as longtime contributors Hannon and Dominique A., and also benefited from Amélie's success, selling 100,000 copies in France. Throughout 2001 and 2002, Tiersen embarked on his most ambitious tours of France and the U.K. to date; this tour was chronicled in 2003's live album C'Était Ici. Later that year, Tiersen's score for Good Bye Lenin! arrived. Tiersen spent the rest of the 2000s alternating between film and pop music, issuing the score to Les Retrouvailles and the collaboration Yann Tiersen & Shannon Wright in 2005. He also toured frequently, releasing a live album in 2006 and the Tabarly score in 2008. Dust Lane, an album focusing on mortality, arrived in 2010. Tiersen began a world tour in New York to support the album, and took a brief respite before jumping back into the studio. The single "Monuments" was released in July of 2011 as an enticement for his next full-length album, Skyline, which was released in Europe on October 17, 2011 and in the United States a week later.[4] 




Genres
    Stage & Screen
    Pop/Rock
    Classical

Styles
    French Pop
    Classical Crossover
    Soundtracks
    Original Score

Moods
    Bleak
    Brooding
    Volatile
    Bittersweet
    Intense
    Melancholy
    Playful
    Reflective
    Theatrical
    Wistful
    Witty
    Ambitious
    Dramatic
    Somber
    Yearning

Other Entries
    Classical Music Entry
    Movie Entry


LVDM+RDC
Genre: Pop
Style: Modern Classical 

LP
Genre: Classical, Pop
Style: Abstract, Modern Classical, Minimal 

TEC+BS
Genre: Pop, Rock
Style: Chanson, Pop Rock, Indie Rock 

Amelie
Genre: Classical, Pop, Stage & Screen
Style: Soundtrack, Chanson, Neo-Classical 

L'Absente
Genre: Pop, Rock
Style: Chanson, Pop Rock, Indie Rock 

C'Était Ici
Genre: Pop, Rock, Folk, World, & Country
Style: Chanson, Pop Rock, Indie Rock, Folk 

Good Bye Lenin!
Genre: Stage & Screen
Style: Soundtrack 

Yann Tiersen & Shannon Wright
Genre: Rock
Style: Indie Rock 

Les Retrouvailles
Genre: Pop, Rock
Style: Pop Rock, Indie Rock 

On Tour
Genre: Rock
Style: Post Rock, Indie Rock 

Tabarly
Genre: Classical, Folk, World, & Country, Stage & Screen
Style: Soundtrack 

Dust Lane
Genre: Rock
Style: Indie Rock 

Skyline
Genre: Rock
Style: Folk Rock, Acoustic, Indie Rock

Skyline (Yann Tiersen album)

[edit]

Songs

[edit]

Skyline is the seventh studio album by Yann Tiersen and follows on from its darker sister Dust Lane. If Dust Lane was a transition, then Skyline really marks Tiersen and his band’s arrival in this musical world he is beginning to inhabit so comfortably. Tiersen would argue he’s been there all along, and it’s only now everyone else is catching up. On stage, or tucked away in his Paris basement studio you would be hard pressed to find him behind the wall of vintage synths (his first passion) and electric guitars. The album came together over a year of touring only punctuated with endless hours spent on the tour bus surrounded by his second passion – vinyl. Bands like Neu!, Kraftwerk and Can are particular influences. Tiersen has always loved to collaborate and Skyline is no exception – guest appearances come from Efterklang, Peter Broderick, Syd Matters and Matt Elliot.[20]

Skyline goes further down the path forged by his previous album, Dust Lane, moving toward a post-rock-tinged sound. ... most of Skyline evokes comparisons to other artists. While Tiersen tries on different approaches for size on each of Skyline's songs, his nimble melodic sense and unfailing skill at evoking the right mood at the right time are unmistakable. While Skyline isn't as obviously dark as Dust Lane was, melancholy pervades the entire album.[21]

In his own bio he describes his vision as "a musical anarchy," and that may be apt, but what his latest offering, Skyline, brings to the ear is worlds away from the nose-thumbing of Never Mind the Bollocks.Instead, it's a collection of nine soundscapes. Each track is as much of a composition (in the classical sense) as it is a song. There are lyrics on most, but rather than imparting a narrative, the language serves as another texture on a canvas that bristles with itchy, tactile viscidity. Maybe this is the anarchy: The way Tiersen crafts lush, beautiful music and then radically alters the diatonic system. He interjects atonality, mechanical clatter and dissonant buzz. And he makes you, the listener, like it. Taken in fractions, Skyline could be filed as ambient, as psychedelic, as melodic electronica, as hardline electronica, as drone and as prog. But there's always something else, another thread running through like a beam of light or the filament of a fast-fading dream. Tiersen layers instruments (including synthesizers) with an orchestral ear. There's method and patience at work here, but also a rock band soul that breathes in the kinetic space of each song. And there's a dark poetry in the mix, marrying desolation and hope, spirituality and agnosticism, chanting repeated phrases like prayers into a sparkling abyss. Skyline is not, according to Tiersen a departure from his previous style, influenced and recorded in the same way he has always made music; however this statement does appear to be slightly disingenuous. Whilst his early work tended to prominently feature a lot of pianos, organs and strings, now only the latter remains at the forefront of his music. Instead, more traditional rock instrumentation is given centre stage – admittedly a natural-sounding progression from previous album Dust Lane – with electric and acoustic guitars featuring heavily alongside a deep, swelling whirlpool of synths. The sound remains distinctly European, but whereas once Tiersen’s work was reminiscent of traditional French music, here it is imbued with the rei of the likes of Kraftwerk and Tangerine Dream. Particularly impressive about Skyline is the way the album is varied and yet cohesive. There is a definite and deliberate effort to juxtapose louder, more dense songs such as highlight ‘The Gutter’ or opener ‘Another Shore’ with quieter, acoustic guitar-led tracks. Often such contrasts can lead to a sprawling and diverse album, which can be good (Tom Waits’ Rain Dogs, The Stones’ Exile on Main St.) or bad (Radiohead’s Hail to the Thief, Pink Floyd’s The Wall), however here Tiersen avoids such a potential pitfall by uniting the songs with a common underlying atmosphere of dark euphoria. There’s more than a hint of Sigur Rós here, and talk on shoegazy single ‘Monuments’ of “floating in space” echoes Spiritualized’s 1997 masterpiece.[22]

Only once on Skyline does Tiersen take a misstep, when on ‘Exit 25 Block 20’ we hear a guttural bark, yapping away in the background of a shimmering acoustic piece. Whilst you can admire the intent on experimentation and willingness to embrace difficult sounds, the coarseness of the vocals is so at odds with the glittering music, sounding like fireworks doing a ballet over a lake, that they sound like an intrusive counterpoint where none was needed.[22]

The Frenchman’s new album Skyline finds him in a très existential state of mind, and its tracks are beautiful storms for restless times (“Another Shore,” “The Gutter”). Sigur Rós producer Ken Thomas’ mixing works magic with Tiersen’s dense aural layering, making every song like a journey through a forest of emotions.[23]

And while the tone of the lyrics gets darker, the music becomes more cheerful. Who'd have thought it? Like the master painter, Tiersen gets it spot on in this latest offering - a piece de resistance which makes any talk of Audrey Tautou's music-to-be-charming-to redundant. Whether sultry woodwind or jumping, over-plucked guitar, Tiersen's experimentation with timbre is thorough and fruitful.[24]

Skyline is stronger for it, showcasing Tiersen at the current height of his abilities. It’s a very distinct, very engaging piece of art that holds up as it plays out and never tires.[25]


The opening track, "Another Shore", is an instrumental piece. Dave Collingwood provided the drums, and Stéphane Bouvier played the bass clarinet. The bursts of instant-gratification guitars on "Another Shore" could come just as easily from Smashing Pumpkins' "Today" or from Mogwai, while twinkly.[21]

more dense songs such as highlight ‘The Gutter’ or opener ‘Another Shore’ with quieter, acoustic guitar-led tracks.[22]

its tracks are beautiful storms for restless times (“Another Shore,” “The Gutter”).[23]

Another Shore is a window into Tiersen's frighteningly beautiful construction. Bustling bells shuffle under an almost Interpol-esque minimalism to the acoustic guitar, before a stadium-worthy wall of noise rises from the machinery. It develops through a fantastic variations-on-a-theme structure, with each reimagining slightly more epic and upbeat than the last. Bass clarinet slinks around somewhere near the bottom, before a firework of extraterrestrial whistling launches into the next iteration.[24]

The album begins with “Another Shore”, which comes off sounding like the best of Explosions in the Sky, provided they granted themselves a broader instrument palette. Remember those familiar peaks and valleys that were used so effectively on The Earth is Not A Cold Dead Place? Tiersen manages to reach similar heights here. If he would’ve hit the ground running with this style for Skyline, there’s no doubt in my mind Tiersen could create another instrumental masterpiece. Instead, he proves too restless to confine himself to the limitations of one genre, pushing himself into new spaces throughout the course of the album while still remaining distinctly himself, injecting each of the subsequent eight tracks with his familiar identity.[25]


Second track "I'm Gonna Live Anyhow" (second single)

...bittersweet tunes like "I'm Gonna Live Anyhow" and "The Trial" call to mind Múm or Morr Music acts such as Borko.[21]

Where "I'm Gonna Live Anyhow" bounces in a magnetic field of electrical charge.[26]

Tiersen explains new single I'm Gonna Live Anyhow as celebrating the simple pleasures in a life which you haven't chosen to live. Deep merde, indeed. And yes, there is a cheery optimism afloat as vocal harmonies wash over a scratchy undercurrent of chattering synths. Not the obvious single choice, that's for sure.[24]

After Skyline‘s powerful start comes the pairing of “I’m Gonna Live Anyhow” and “Monuments”. The former contains hushed and distorted vocal passages and the near-continuous run of what sounds like a trumpet-emulating synthesizer. Then “Monuments”, once again, brings Explosions in the Sky to mind, only this time focusing in one the softer side of things and featuring very complementary vocals. “Monuments” becomes one of the albums strongest moments by virtue of beings its most unassuming, casting a gentle kind of magic that pulls the listener in and keeps them rapt throughout.[25]


Third track, "Monuments" (first single)

  • Dave Collingwood – drums

The first single, Monuments has Tiersen’s trademark lyrical repetition, which muses our place in the world and the traces of ourselves we leave behind – “all monuments of men, they’re sinking in vain”. Wrapped in a chorus of vocals and shimming guitars the message isn’t so dark, it’s full of hope.[20]

the static buzz of "Monuments" is smoother, more of a comfort. Here, warm layers of sound build, organic at the foundation and rising to electrical and mechanical notes over which Tiersen's voice warbles through heavy effects. Here, also, we're given a clue: "Tiny moments of mine, they're floating in space," is the lyric. Indeed, Skyline reads as a series of tiny moments - not major life events but instead the beautiful, insignificant ephemera that falls away in the wake of life's progress.[26]

There’s more than a hint of Sigur Rós here, and talk on shoegazy single ‘Monuments’ of “floating in space” echoes Spiritualized’s 1997 masterpiece.[22]

A more predictable one was Monuments, with a more obvious vocal structure to it. Oh, and this video by Ivan Rusev. Each sound is added one at a time, building the tower bit by bit. It's a nice touch to stratify the hectic melee of musical layers before weaving them all together. When they're all up and running, it's difficult to tell just how complex the fabric is, such is the skill of the composition.[24]

After Skyline‘s powerful start comes the pairing of “I’m Gonna Live Anyhow” and “Monuments”. The former contains hushed and distorted vocal passages and the near-continuous run of what sounds like a trumpet-emulating synthesizer. Then “Monuments”, once again, brings Explosions in the Sky to mind, only this time focusing in one the softer side of things and featuring very complementary vocals. “Monuments” becomes one of the albums strongest moments by virtue of beings its most unassuming, casting a gentle kind of magic that pulls the listener in and keeps them rapt throughout.[25]


Fourth "The Gutter" (Che Guevara's speech, ONU General Assembly, New York 11 December 1964)

still elsewhere, the lush romanticism of "The Gutter"'s dream pop recalls Saturdays=Youth-era M83.[21]

Where "The Gutter" returns to mellow basking in planetarium-like twinkling, the shimmer of cymbals and Tiersen's own softly-sung falsetto (really, what could this song have to do with a gutter? Except that the repeated line, "try to reach the sea" calls to mind the epic journeys of so many flushed goldfish).[26]

more dense songs such as highlight ‘The Gutter’ or opener ‘Another Shore’ with quieter, acoustic guitar-led tracks.[22]

its tracks are beautiful storms for restless times (“Another Shore,” “The Gutter”).[23]

When Tiersen dives into someone else's patch, he gives them a run for their money. The Gutter was produced by Ken Thomas, who worked with Sigur Rós on their () album, and there's something highly reminiscent of Jonsi himself in the beautiful earnestness with which Tiersen warbles about trying to "reach the sea," soaring over racing cymbal crashes.[24]

“The Gutter” restores some of the magic present in “Another Shore”, Skyline‘s huge opening track, while not succumbing to that tracks bombast—instead subtly expanding on a driving bassline until it becomes its own kind of indirect crescendo. It’s a gripping moment which proves how effective Tiersen can be expanding on minimalist themes. When he plays it relatively straight, he’s at his most captivating, which “The Gutter” helps make more apparent than usual.[25]


Fifth track "Exit 25 Block 20"

the odd mix of screaming, toy piano, and glockenspiel on "Exit 25 Block 20" seems like something Fuck Buttons would attempt.[21]

"Exit 25 Block 20," follows directly with a series of barks, yips and guttural howls. Here, half-man and half-wolf, given to too much moonlight, the composer loosens his primal scream in the sonic domain of radio signals, Theremin whines and (nearly buried in the fracas) a crescendoing melody line.[26]

Only once on Skyline does Tiersen take a misstep, when on ‘Exit 25 Block 20’ we hear a guttural bark, yapping away in the background of a shimmering acoustic piece. Whilst you can admire the intent on experimentation and willingness to embrace difficult sounds, the coarseness of the vocals is so at odds with the glittering music, sounding like fireworks doing a ballet over a lake, that they sound like an intrusive counterpoint where none was needed.[22]

At times it threatens to get a little too much for one sitting. Exit 25 Block 20's twee melody over disconcerting barking sounds is pushing the limits of how bizarre the listener might be prepared to go, but the arrival of the bass and a more structured keyboard harmony lifts the tone drastically.[24]

Punctuating that fact is the decision to follow “The Gutter” with “Exit 25 Block 20”, Skyline‘s most experimental track, and one of its shortest. There are no instruments featured until its halfway point, but even then, he struggles to reach the heights of a song like “Another Shore”, rendering it a slight misstep that temporarily derails the album’s momentum.[25]


Sixth track "Hesitation Wound"

... welling to the surface on "Hesitation Wound," where Tiersen's frail voice drifts farther and farther away from the listener and into a galaxy of strafing synths.[21]

There is philosophy in the composition. The metaphor of 'Hesitation Wound' - the pain of a something more sudden strung out during an extended period of uncertainty - is itself worthy of some kind of prize.[24]

After the pleasant ambient washes that are prominent in “Hesitation Wound”, again complemented by airy dream-like vocals that float over the instruments and play on Tiersen’s aesthetic remarkably well.[25]


Seventh track "Forgive Me"

  • Dave Collingwood – drums

the galloping rhythms and swift melody of "Forgive Me" are most like the works that won Tiersen a legion of film buff fans.[21]

Yet even the most easily-disturbed listener couldn't stay that way for long. Forgive Me offers a 6-minute-long romp of a pick-me-up, with a busy little line in percussion.[24]

Skyline ends with a trio of tracks leaving no doubt to his skills as a composer. “Forgive Me”, “The Trial”, and “Vanishing Point” all play up both Tiersen’s strengths in an exhilarating fashion that really makes Skyline feel like a complete work.[25]


Eighth track "The Trial"

...bittersweet tunes like "I'm Gonna Live Anyhow" and "The Trial" call to mind Múm or Morr Music acts such as Borko.[21]

Somewhere around the halfway mark of "The Trail," a flute utters a few low notes into the wash of harmony and discord. It's a small gesture, but no sound in Tiersen's work is inconsequential. From that sweetly sentimental instance, the music changes, its disparate parts finding equanimity and gravity around the chorus of "Someday my girl, in your mirror." What that means is hard to say, but it has weight. On Skyline, Tiersen plays with words as much as with sounds, finding combinations that allude to more than their apparent sums. Words with purpose and intent, if not obvious context. This is the musician who, on Dust Lane, turned the words "fuck me" into an existential reverie - maybe that's the anarchy. The apostasy. The complete abandonment, where by shedding everything Tiersen embraces everything.[26]

The Trial brings a quiet optimism on the xylophone, massaged with a cautious swell of strings. All this before breaking out into a purposeful slapped guitar and a stark juxtaposition of lyrical pessimism ("someday my girl, in your mirror / darling, you will face the trial") over musical assuredness.[24]

Skyline ends with a trio of tracks leaving no doubt to his skills as a composer. “Forgive Me”, “The Trial”, and “Vanishing Point” all play up both Tiersen’s strengths in an exhilarating fashion that really makes Skyline feel like a complete work.[25]


Last track "Vanishing Point"

The album wraps with "Vanishing Point," mostly warm, mostly soft, ebbing and flowing through space. Here, electronics hum and a man-beast barks, but there's a lightness and groove to the track. When it slows to a needle-dragging finish, the silence is all too jarring and all too soon.[26]

Skyline ends with a trio of tracks leaving no doubt to his skills as a composer. “Forgive Me”, “The Trial”, and “Vanishing Point” all play up both Tiersen’s strengths in an exhilarating fashion that really makes Skyline feel like a complete work.[25]

U2

[edit]

Most wanted U2 songs

[edit]
Moved to User:Miss Bono/My Future Work

Peter Van Wood

[edit]

Weather Report

[edit]

WR Discography

[edit]

Unofficial releases

[edit]
  • xxxx: Live at The Agora, Cleveland, October 17, 1972
  • xxxx: Live at the Hill Auditorium, Ann Arbor, Usa, January 4, 1976
  • xxxx: Live at the Tower Theatre Philadelphia, November 10, 1978
  • xxxx: Live in Chateauvallon, France, August 24, 1973
  • xxxx: Live in Westport, USA, February 27, 1974
CHARTS

Billboard Album
Year Album Chart Peak 
1971 Weather Report Jazz Albums 7
1971 Weather Report The Billboard 200 191
1972 I Sing The Body Electric The Billboard 200 147
1973 Sweetnighter Jazz Albums 2
1973 Sweetnighter R&B Albums 41
1973 Sweetnighter The Billboard 200 85
1974 Mysterious Traveller Jazz Albums 2
1974 Mysterious Traveller R&B Albums 31
1974 Mysterious Traveller The Billboard 200 46
1975 Tale Spinnin' Jazz Albums 3
1975 Tale Spinnin' R&B Albums 12
1975 Tale Spinnin' The Billboard 200 31
1976 Black Market Jazz Albums 2
1976 Black Market R&B Albums 20
1976 Black Market The Billboard 200 42
1977 Heavy Weather Jazz Albums 1
1977 Heavy Weather R&B Albums 33
1977 Heavy Weather The Billboard 200 30
1978 Mr. Gone Jazz Albums 1
1978 Mr. Gone The Billboard 200 52
1979 8:30 Jazz Albums 3
1979 8:30 The Billboard 200 47
1981 Night Passage Jazz Albums 2
1981 Night Passage The Billboard 200 57
1982 Weather Report Jazz Albums 5
1982 Weather Report The Billboard 200 68
1984 Domino Theory The Billboard 200 136
1984 Domino Theory Top Jazz Albums 5
1985 Sportin' Life The Billboard 200 191
1985 Sportin' Life Top Jazz Albums 13
1986 This Is This! The Billboard 200 195
1986 This Is This! Top Jazz Albums 13
2002 Live and Unreleased Top Contemporary Jazz Albums 21
2006 Forecast: Tomorrow Top Jazz Albums 18
Chart information courtesy of Billboard.com © 2006 VNU eMedia, Inc. All rights reserved.

GRAMMY Awards
www.grammy.com
Year Album/Track Award 
1979 A 8:30 Best Jazz Fusion Performance
S indicates a Song award
A indicates an Album award
GRAMMY ® information courtesy of The National Academy of Recording Arts & Sciences © 2009. For complete GRAMMY informtion, visit www.GRAMMY.com

Bands' Templates

[edit]

| {{WPClash}}: Template:WPClash/sandbox | Wikipedia:WikiProject The Clash/to do2 | {{User WPClash‎}} | {{WikiProject The Clash Invite‎}} | {{WikiProject The Clash Welcome‎}} |


Bands' Timeline

[edit]

This is the timeline of the English rock band Name of the band.

Name of the band Timeline
  1964–1978 R D

P T
J H
K M

  1979–1988

R D
P T
J H
K J

  1989–2002

R D
P T
J H

  2002–present

R D
P T


References

[edit]
  1. ^ Gergiev, Valery (6 December 2010). "[Mariinsky Orchestra, Symphonies Nos. 2 & 11, Shostakovich, Valery Gergiev". Saint Petersburg: Mariinsky (MAR0507)
  2. ^ a b c d Randell, Edward (2010). "Interview: Yann Tiersen". Features. MusicOMH.
  3. ^ Cite error: The named reference L-Lsdla was invoked but never defined (see the help page).
  4. ^ a b c d e f g h i j k l m n o Cite error: The named reference am-yt-bio was invoked but never defined (see the help page).
  5. ^ a b Black Session at Discogs
  6. ^ Yann Tiersen-sur le fil in madrid 2006 on YouTube
  7. ^ a b c d e f g h "Yann Tiersen". All Tomorrow's Parties.
  8. ^ C'Était Ici at Discogs (list of releases)
  9. ^ "Elektronische Staubband (avec Yann Tiersen) (F)" (in French). La Route du Rock. 2012. Retrieved 8 May 2012.
  10. ^ ATP curated by Jeff Mangum
  11. ^ "Elektronische Staubband (avec Yann Tiersen) (F)" (in French). La Route du Rock. 2012. Retrieved 8 May 2012.
  12. ^ (Tout Est Calme) at Discogs (list of releases)
  13. ^ Cite error: The named reference MusicOMH-2002 was invoked but never defined (see the help page).
  14. ^ C'Était Ici at Discogs (list of releases)
  15. ^ "3 titres inédits au profit de la FIDH - On aime, on aide". fnac.com.
  16. ^ “Mute Records – Yann Tiersen Biography”[dead link‍]. Retrieved 20 November 2010.
  17. ^ "Yann Tiersen – Official Site". Retrieved 20 November 2010.
  18. ^ "Elektronische Staubband (avec Yann Tiersen) (F)" (in French). La Route du Rock. 2012. Retrieved 8 May 2012.
  19. ^ ATP curated by Jeff Mangum
  20. ^ a b All Tomorrow's Parties.
  21. ^ a b c d e f g h Allmusic 2012-04-18.
  22. ^ a b c d e f Drowned in Sound 2011-10-14.
  23. ^ a b c Filter 2012-04-19.
  24. ^ a b c d e f g h i MusicOMH 2012-04-18.
  25. ^ a b c d e f g h i j PopMatters 2012-04-25.
  26. ^ a b c d e f Blurt 2012-04-17.



Cite error: There are <ref group=n> tags on this page, but the references will not show without a {{reflist|group=n}} template (see the help page).

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