1.
Paul Revere & the Raiders
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Paul Revere & the Raiders is an American rock band that saw considerable U. S. mainstream success in the second half of the 1960s and early 1970s. Among their hits were the songs Kicks, Hungry, Him Or Me – Whats It Gonna Be. initially based in Boise, Idaho, the Raiders began as an instrumental rock band led by organist and founder Paul Revere Dick. The band relocated to Portland, Oregon, when Revere returned from serving in the forces in 1962. In his early 20s, Revere owned several restaurants in Caldwell, Idaho, the circumstance of their meeting was later referred to in the tongue-in-cheek song Legend of Paul Revere, recorded by the group. Lindsay joined Reveres band in 1958, originally called the Downbeats, they changed their name to Paul Revere & the Raiders in 1960 on the eve of their first record release for Gardena Records. The band garnered their first hit in the Pacific Northwest in 1961, with the instrumental Like, the record had enough national appeal that it peaked at No.38 on the Billboard chart on April 17,1961. When Revere was drafted for service, he became a conscientious objector and worked as a cook at a mental institution for a year. During the same period, Lindsay pumped gas in Wilsonville. On the strength of their Top 40 single, Lindsay toured the U. S. in the summer of 1961 with a band that featured Leon Russell taking Reveres place on piano. By summer 1962, Revere and Lindsay were working again in Oregon with a version of the Raiders that featured Mike Smitty Smith. Around this time, KISN DJ Roger Hart, who was producing teen dances, was looking for a band to hire, Hart had a casual conversation with a bank teller who told him about a band called Paul Revere-something. Hart obtained Reveres phone number and they met for lunch, Hart hired the band for one of his teen dances. Soon afterward, Hart became the personal manager. It was Hart who suggested they record Louie Louie, for which Hart paid them about $50, producing the song and placing it on his Sandē label, according to Lindsay, the Raiders were a bunch of white-bread kids doing their best to sound black. We got signed to Columbia on the strength of sounding like this, whether the Raiders or the Kingsmen recorded Louie Louie first is not certain, however, both groups recorded it in the same studio in Portland, Oregon, in April 1963. By then, the Raiders included Revere, Lindsay, Smith, guitarist Drake Levin, and bassist Mike Doc Holliday, in 1965, the Raiders began recording a string of garage rock classics. Their first major hit, Just Like Me was one of the first rock records to feature a distinctive, double-tracked guitar solo. The band appeared regularly in the U. S. on national television, most notably on Dick Clarks Where the Action Is, Happening 68, and Its Happening, the latter two co-hosted by Revere and Lindsay
2.
Midnight Ride (album)
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Midnight Ride is the fifth studio album by American pop rock group Paul Revere & the Raiders, released by Columbia Records. Produced by Terry Melcher and released in May 1966, the featured the U. S. top five single Kicks. The album also includes Steppin Stone, a song The Monkees covered, the album is unique in the bands discography in that it contains songwriting credits by all five bandmembers. The album also marked the end of the relationship with the Brill Building music publishing house. Midnight Ride peaked at nine on the U. S. Billboard 200 albums chart. The album was certified gold in the U. S. on March 20,1967, music critic Bruce Eder said the album marked just about the pinnacle of Paul Revere & the Raiders history as a source of great albums. The album was described in Billboard magazine as a package of hard driving, pulsating rockers, serene Dominic of the Phoenix New Times called the album proof that squandered not a minute of that massive TV exposure. It is listed in the book 1001 Albums You Must Hear Before You Die by Robert Dimery, in 1986 the song Kicks was covered by the Monkees as an album track on their album Then & Now. Midnight Ride was remastered and re-released on February 1,2000 by Sundazed Records with bonus tracks
3.
Rock music
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It has its roots in 1940s and 1950s rock and roll, itself heavily influenced by blues, rhythm and blues and country music. Rock music also drew strongly on a number of genres such as electric blues and folk. Musically, rock has centered on the guitar, usually as part of a rock group with electric bass guitar. Typically, rock is song-based music usually with a 4/4 time signature using a verse-chorus form, like pop music, lyrics often stress romantic love but also address a wide variety of other themes that are frequently social or political in emphasis. Punk was an influence into the 1980s on the subsequent development of subgenres, including new wave, post-punk. From the 1990s alternative rock began to rock music and break through into the mainstream in the form of grunge, Britpop. Similarly, 1970s punk culture spawned the visually distinctive goth and emo subcultures and this trio of instruments has often been complemented by the inclusion of other instruments, particularly keyboards such as the piano, Hammond organ and synthesizers. The basic rock instrumentation was adapted from the blues band instrumentation. A group of musicians performing rock music is termed a rock band or rock group, Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four. Melodies are often derived from older musical modes, including the Dorian and Mixolydian, harmonies range from the common triad to parallel fourths and fifths and dissonant harmonic progressions. Critics have stressed the eclecticism and stylistic diversity of rock, because of its complex history and tendency to borrow from other musical and cultural forms, it has been argued that it is impossible to bind rock music to a rigidly delineated musical definition. These themes were inherited from a variety of sources, including the Tin Pan Alley pop tradition, folk music and rhythm, as a result, it has been seen as articulating the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, rock and roll usually implies an identification of male sexuality, according to Simon Frith rock was something more than pop, something more than rock and roll. Rock musicians combined an emphasis on skill and technique with the concept of art as artistic expression, original. The foundations of music are in rock and roll, which originated in the United States during the late 1940s and early 1950s. Its immediate origins lay in a melding of various musical genres of the time, including rhythm and blues and gospel music, with country. In 1951, Cleveland, Ohio disc jockey Alan Freed began playing rhythm and blues music for a multi-racial audience, debate surrounds which record should be considered the first rock and roll record. Other artists with rock and roll hits included Chuck Berry, Bo Diddley, Fats Domino, Little Richard, Jerry Lee Lewis
4.
Songwriter
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A songwriter is an individual who writes the lyrics, melodies and chord progressions for songs, typically for a popular music genre such as rock or country music. A songwriter can also be called a composer, although the term tends to be used mainly for individuals from the classical music genre. The pressure from the industry to produce popular hits means that songwriting is often an activity for which the tasks are distributed between a number of people. For example, a songwriter who excels at writing lyrics might be paired with a songwriter with a gift for creating original melodies, pop songs may be written by group members from the band or by staff writers – songwriters directly employed by music publishers. Some songwriters serve as their own publishers, while others have outside publishers. The old-style apprenticeship approach to learning how to write songs is being supplemented by university degrees and college diplomas, a knowledge of modern music technology, songwriting elements and business skills are necessary requirements to make a songwriting career in the 2010s. Several music colleges offer songwriting diplomas and degrees with music business modules, the legal power to grant these permissions may be bought, sold or transferred. This is governed by international copyright law, song pitching can be done on a songwriters behalf by their publisher or independently using tip sheets like RowFax, the MusicRow publication and SongQuarters. Skills associated with song-writing include entrepreneurism and creativity, songwriters who sign an exclusive songwriting agreement with a publisher are called staff writers. In the Nashville country music scene, there is a staff writer culture where contracted writers work normal 9-to-5 hours at the publishing office and are paid a regular salary. This salary is in effect the writers draw, an advance on future earnings, the publisher owns the copyright of songs written during the term of the agreement for a designated period, after which the songwriter can reclaim the copyright. In an interview with HitQuarters, songwriter Dave Berg extolled the benefits of the set-up, unlike contracted writers, some staff writers operate as employees for their respective publishers. Under the terms of work for hire agreements, the compositions created are fully owned by the publisher. In Nashville, young writers are often encouraged to avoid these types of contracts. Staff writers are common across the industry, but without the more office-like working arrangements favored in Nashville. All the major publishers employ writers under contract, songwriter Allan Eshuijs described his staff writer contract at Universal Music Publishing as a starter deal. His success under the arrangement eventually allowed him to found his own publishing company, so that he could. keep as much as possible, songwriters are also often skilled musicians. In addition to selling their songs and musical concepts for other artists to sing, songwriters need to create a number of elements for a song
5.
Boyce and Hart
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Sidney Thomas Tommy Boyce and Bobby Hart were a prolific songwriting duo, best known for the songs they wrote for The Monkees. Harts father was a minister and he himself served in the Army after leaving high school. Upon discharge, he travelled to Los Angeles seeking a career as a singer, Boyce was separately pursuing a career as a singer. After being rejected numerous times, Boyce took his fathers suggestion to write a song called Be My Guest for rock and he waited six hours at Dominos hotel room to present him with the demo, and got Domino to promise to listen to the song. The song hit #8 in the US and #11 in the UK, becoming Dominos biggest hit there in several years and their partnership made a breakthrough with a song recorded by Chubby Checker, Lazy Elsie Molly, in 1964. They went on to write hits for Jay & the Americans, Paul Revere, the latter two songs provided the Monkees with hit B-sides in 1967. The duo also wrote the song of the daytime soap Days of Our Lives. At one point in this period, Hart also co-wrote Hurt So Bad for Little Anthony & the Imperials with Teddy Randazzo and his songwriting partner. In late 1965, they wrote, produced and performed the soundtrack of the pilot for The Monkees, in 1966, despite some conflicts with Don Kirshner, who was the shows musical supervisor, they were retained in essentially the same role. The Monkees themselves re-recorded their vocals over Boyce and Harts when it time to release the songs. Kirshner suddenly relieved Boyce and Hart as producers, by claiming they were using studio time booked for Monkees songs to record tracks for their own solo project, every original Monkees album included Boyce and Hart songs. The duo also had five charting singles, the most well-known of these was I Wonder What Shes Doing Tonight and it sold over one million copies, and was awarded a gold disc. Out and About and Alice Long were their other Top 40 hits, in each of the three sitcom guest appearances, their music was featured including two covers they did on The Flying Nun. Boyce and Hart also had filmed video promos for their songs Out and About and they also provided the music score for a TV movie called Threes a Crowd starring Larry Hagman and Jessica Walter. Boyce and Hart also did promos for the U. S. Army Reserve and this included the creation of two Coca-Cola commercial jingles, one being a powerful psychedelic song, Wake Up Girl, while the other was their single Smilin with totally different lyrics. In 1971 a sitcom named Getting Together appeared on ABC-TV, starring Bobby Sherman, the series was reportedly based loosely on Boyce and Harts partnership. At this point, they decided to work on solo projects. In the mid-1970s, Boyce and Hart reunited with Davy Jones and Micky Dolenz, performing the songs Boyce, legally prohibited from using the Monkees name, they called themselves Dolenz, Jones, Boyce & Hart
6.
Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as the person who creatively guides or directs the process of making a record, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously, all of these singers and musicians had to be assembled in a large studio and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu
7.
Terry Melcher
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Melcher is also known for his involvement with murder-conspirator Charles Manson, being one of the targets of the Manson Family during the late 1960s. He was the child of actress/singer Doris Day, his father was Days first husband Al Jorden. Melchers major contributions were producing the Byrds first two albums Mr. Tambourine Man and Turn, Turn. as well as most of the hit recordings of Paul Revere & the Raiders and the Gentle Soul. In the 1960s, Melcher was acquainted with the Beach Boys, Melcher later produced several singles for the Beach Boys between the 1980s and the 1990s, including Kokomo, which topped US record charts. Melcher was born Terrence P. Jorden in New York City to trombonist Al Jorden and his wife, known as Terry, the boy was named by his mother after the hero of her favorite childhood comic strip, Terry and the Pirates. Before the birth, Day was planning to divorce Al Jorden, due to his alleged abuse, upon learning of his wifes pregnancy, Jorden had demanded that Day get an abortion. Shortly after giving birth, Day filed for divorce and left the infant with her mother in Ohio, Doris went back to touring with big band leader Les Brown and after the divorce, Jorden visited his son infrequently and had little presence in his life. After divorcing her husband, saxophonist George Weidler, Day married Martin Melcher. Melcher adopted Terry, giving the child his surname, in his freshman and sophomore high school years, Terry attended the Loomis Chaffee School in Connecticut, then returned to California for his junior and senior years at Beverly Hills High. He subsequently attended Principia College in Illinois for a short time, after Martin Melchers death in 1968, Day discovered that Martin had mismanaged or embezzled twenty million dollars from her. According to Terry, Martin also mistreated him as a child, in the early 1960s, Terry Melcher and Bruce Johnston formed the vocal duet Bruce & Terry. The duo had hits like Custom Machine and Summer Means Fun, Melcher and Johnston also created another group, the Rip Chords, which had a Top 10 hit with Hey, Little Cobra. Later, Johnston would join the Beach Boys, by the mid-1960s, Melcher had joined the staff of Columbia Records and went on to work with the Byrds. He produced their hit cover versions of Bob Dylans Mr. Tambourine Man, Turn. as well as their respective albums. Melcher also worked with Paul Revere & the Raiders, Wayne Newton, Frankie Laine, Jimmy Boyd, Pat Boone, Glen Campbell, Mark Lindsay and he was instrumental in signing another L. A. band, the Rising Sons, led by Taj Mahal and Ry Cooder. Melcher was also a member of the Monterey Pop Foundation. In 1968, Beach Boy Dennis Wilson introduced Melcher to ex-con, Manson and his family had been living in Wilsons house at 14400 Sunset Boulevard after Wilson had picked up hitchhiking Manson family members Patricia Krenwinkel and Ella Jo Bailey. Wilson expressed interest in Mansons music and even recorded two of Mansons songs with the Beach Boys, for a time, Melcher was interested in recording Mansons music as well as making a film about the family and their hippie commune existence
8.
Chord progression
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A chord progression or harmonic progression is a succession of musical chords. Chord progressions are the foundation of harmony in Western musical tradition, in tonal music, chord progressions have the function of establishing or contradicting a tonality. Chord progressions are usually expressed by Roman numerals, a chord may be built upon any note of a musical scale, therefore a seven-note scale allows seven basic chords, each degree of the scale becoming the root of its own chord. A chord built upon the note A is an A chord of some type The harmonic function of any particular chord depends on the context of the chord progression in which it is found. The diatonic harmonization of any major results in three major triads. They are based on the first, fourth, and fifth scale degrees and these three triads include, and therefore can harmonize, every note of that scale. The same scale also provides three relative minor chords, one related to each of the three major chords, separate from these six common chords there is one degree of the scale, the seventh, that results in a diminished chord. In addition, extra notes may be added to any chord, if these notes are also selected from the original scale the harmony remains diatonic. If new chromatic intervals are introduced then a change of scale or modulation occurs and this in turn may lead to a resolution back to the original key, so that the entire sequence of chords helps create an extended musical form. In western classical notation, chords built on the scale are numbered with Roman numerals, other forms of chord notation have been devised, from figured bass to the chord chart. These usually allow or even require an amount of improvisation. Diatonic scales such as the major and minor scales lend themselves well to the construction of common chords because they contain a large number of perfect fifths. Such scales predominate in those regions where harmony is an part of music, as, for example. Alternation between two chords may be thought of as the most basic chord progression, many well-known pieces are built harmonically upon the mere repetition of two chords of the same scale. The Isley Brothers Shout uses I - vi throughout, three-chord tunes, though, are more common, since a melody may then dwell on any note of the scale. They are often presented as successions of four chords, in order to produce a binary harmonic rhythm, often the chords may be selected to fit a pre-conceived melody, but just as often it is the progression itself that gives rise to the melody. (Common in Elizabethan music, this also underpins the American college song Goodnight Ladies, is the exclusive progression used in Kwela, similar progressions abound in African popular music. They may be varied by the addition of sevenths to any chord or by substitution of the minor of the IV chord to give, for example
9.
Alla breve
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Alla breve is a musical meter notated by the time signature symbol, which is the equivalent of 22. The term is Italian for in the style of the breve, alla breve is a simple-duple meter with a half-note pulse. The note denomination which represents one beat in is the minim or half-note, there are two of these per bar, so that the time signature 22 may be interpreted as two minim beats per bar. In Italian, breve means short, and alla breve is also known as cut time or cut common time, in contemporary usage ala breve suggests a fairly quick tempo. Thus, it is used frequently for military marches, from about 1600 to 1900 its usage with regard to tempo varied, so it cannot always be taken to mean a quick tempo. The reason for the usage of alla breve is to allow the musician to read notes of short duration more cleanly with fewer beats. Prior to 1600 the term alla breve derives from the system of mensural or proportional notation in which values were related by the ratio 2,1. In this context it means that the tactus or metrical pulse is switched from its place on the whole note to the double whole note. Early music notation was developed by religious orders, which has resulted in religious associations in notation. The most obvious is that music in time was called tempus perfectum, deriving its name from the Holy Trinity and represented by the perfect circle. Music in duple time was called tempus imperfectum. Its symbol was the circle, which is still used — although it has evolved to mean 44, or common time. When cut through by a line, it means 22 — cut common. It sometimes had other functions, including non-mensural ones, the following is an example with the same rhythm notated in 22 and in 44, Randel, Don Michael. Harvard dictionary of music, fourth edition, cambridge, Massachusetts, The Belknap Press of Harvard University Press. The New Grove Dictionary of Music and Musicians, 2nd edition, the Contemporary Keyboardist, Hal Leonard Corporation, ISBN 0-634-01091-3
10.
Single (music)
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In music, a single or record single is a type of release, typically a song recording of fewer tracks than an LP record, an album or an EP record. This can be released for sale to the public in a variety of different formats, in most cases, a single is a song that is released separately from an album, although it usually also appears on an album. Typically, these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular, in other cases a recording released as a single may not appear on an album. As digital downloading and audio streaming have become prevalent, it is often possible for every track on an album to also be available separately. Nevertheless, the concept of a single for an album has been retained as an identification of a heavily promoted or more popular song within an album collection. Despite being referred to as a single, singles can include up to as many as three tracks on them. The biggest digital music distributor, iTunes, accepts as many as three tracks less than ten minutes each as a single, as well as popular music player Spotify also following in this trend. Any more than three tracks on a release or longer than thirty minutes in total running time is either an Extended Play or if over six tracks long. The basic specifications of the single were made in the late 19th century. Gramophone discs were manufactured with a range of speeds and in several sizes. By about 1910, however, the 10-inch,78 rpm shellac disc had become the most commonly used format, the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century.26 rpm. With these factors applied to the 10-inch format, songwriters and performers increasingly tailored their output to fit the new medium, the breakthrough came with Bob Dylans Like a Rolling Stone. Singles have been issued in various formats, including 7-inch, 10-inch, other, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc. Some artist release singles on records, a more common in musical subcultures. The most common form of the single is the 45 or 7-inch. The names are derived from its speed,45 rpm. The 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable, the first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s
11.
The Monkees
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The Monkees are an American rock band originally active between 1965 and 1971, with subsequent reunion albums and tours in the decades that followed. They were formed in Los Angeles in 1965 by Bob Rafelson and Bert Schneider for the American television series The Monkees, the musical acting quartet was composed of Americans Micky Dolenz, Michael Nesmith and Peter Tork and British actor and singer Davy Jones. The bands music was supervised by producer Don Kirshner. Dolenz described the Monkees as initially being a TV show about an imaginary band and that wanted to be The Beatles, that was never successful. The actor-musicians, however, soon became a real band, for the first few months of their initial five-year career as The Monkees, the four actor-musicians were allowed only limited roles in the recording studio. This was due in part to the amount of required to film the television series. Nonetheless, Nesmith did compose and produce some songs from the beginning and they eventually fought for and earned the right to collectively supervise all musical output under the bands name. The sitcom was canceled in 1968, but the continued to record music through 1971. A revival of interest in the show came in 1986. Up until 2011 the group had reunited and toured several times, despite the sudden death of Davy Jones on February 29,2012, the surviving members reunited for a tour in November–December 2012 and again in 2013 for a 24-date tour. Nesmith was able to some time up to join them in the latter stages of the US tour. The Monkees have sold more than 75 million records worldwide and had hits, including Last Train to Clarksville, Pleasant Valley Sunday, Daydream Believer. At their peak in 1967, the band outsold the Beatles, aspiring filmmaker Bob Rafelson developed the initial idea for The Monkees in 1962, but was unsuccessful in selling the series. He had tried selling it to Revue, the division of Universal Pictures. In May 1964, while working at Screen Gems, Rafelson teamed up with Bert Schneider, whose father, Abraham Schneider, headed the Colpix Television, Rafelson and Schneider ultimately formed Raybert Productions. The Beatles film A Hard Days Night inspired Rafelson and Schneider to revive Rafelsons idea for The Monkees, as The Raybert Producers, they sold the show to Screen Gems Television on April 16,1965. Rafelson and Schneiders original idea was to cast an existing New York folk rock group, the Lovin Spoonful, however, John Sebastian had already signed the band to a record contract, which would have denied Screen Gems the right to market music from the show. Jones had previously starred as the Artful Dodger in the Broadway show Oliver, which debuted on December 17,1962, and his performance was later seen on The Ed Sullivan Show the same night as the Beatles first appearance on that show, February 9,1964
12.
More of the Monkees
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More of the Monkees is the second full-length album by the Monkees. It was recorded in late 1966 and released on Colgems label #102 on January 9,1967 and it displaced the bands debut album from the top of the Billboard 200 chart and remained at No.1 for 18 weeks—the longest of any Monkees album. Combined, the first two Monkees albums were at the top of the Billboard chart for 31 consecutive weeks, More of the Monkees also went to No.1 in the UK. In the U. S. it has been certified platinum by the RIAA with sales of more than five million copies. More of the Monkees is also notable for being the first pop/rock album to be the album of the year in the U. S. Monkeemania had reached full swing by the time the album was released. The Monkees second single, Im a Believer—included on this album—held the number one position on the Billboard Hot 100, the release of More of the Monkees was rushed to capitalize on the bands popularity, catching even its members by surprise. The band learned of the albums existence while on tour in Cleveland, Ohio, the group began to grow concerned over their musical output, since this album and their debut, The Monkees, featured them limited to just vocals with scattered instrumental contributions. Kirshner had a rule that the Monkees were to provide only vocals on his productions. More of the Monkees has Nesmith limited to one song as lead vocalist and this outburst came after Moelis snapped to Nesmith, Youd better read your contract, when Nesmith threatened to quit. Kirshner was later dropped from the project altogether, the original pressing catalog number is COM/COS102. When the album was reissued in 1969 the Colgems symbol replaced the word Colgems on the bottom corner of the reverse side. It was standard practice for RCA to add an RE when any one side of a record sleeve had a revision, there were no mono copies issued in 1969 as they were phased out altogether in 1968. Some were previously unreleased, while others were on the 1994 Rhino reissue or the Missing Links series, studio chatter is included between some bonus tracks
13.
A-side and B-side
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The terms A-side and B-side refer to the two sides of 78,45, and 33 1/3 rpm phonograph records, whether singles, extended plays, or long-playing records. Creedence Clearwater Revival had hits with both A-side and B-side releases, others took the opposite approach, producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side, the earliest 10-inch,78 rpm, shellac records were single sided. Double-sided recordings, with one song on side, were introduced in Europe by Columbia Records. There were no record charts until the 1930s, and radio stations did not play recorded music until the 1950s, in this time, A-sides and B-sides existed, but neither side was considered more important, the side did not convey anything about the content of the record. The term single came into use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side, under this random system, many artists had so-called double-sided hits, where both songs on a record made one of the national sales charts, or would be featured on jukeboxes in public places. As time wore on, however, the convention for assigning songs to sides of the record changed. By the early sixties, the song on the A-side was the song that the company wanted radio stations to play. It was not until 1968, for instance, that the production of albums on a unit basis finally surpassed that of singles in the United Kingdom. In the late 1960s stereo versions of pop and rock songs began to appear on 45s. The majority of the 45s were played on AM radio stations, by the early 1970s, double-sided hits had become rare. Album sales had increased, and B-sides had become the side of the record where non-album, non-radio-friendly, with the advent of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. With the decline of cassette singles in the 1990s, the A-side/B-side dichotomy became virtually extinct, as the dominant medium. However, the term B-side is still used to refer to the tracks or coupling tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other media have declined. B-side songs may be released on the record as a single to provide extra value for money. There are several types of material released in this way, including a different version, or, in a concept record
14.
I'm a Believer
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Im a Believer is a song composed by Neil Diamond and recorded by The Monkees in 1966 with the lead vocals by Micky Dolenz. Billboard ranked the record as the No.5 song for 1967, because of 1,051,280 advance orders, it went gold within two days of release. It is one of the fewer than forty singles to have sold 10 million physical copies worldwide. The song was No.1 in the UK Singles Chart for four weeks in January and February 1967, as well as a Number 1 in numerous countries including Australia, Canada, and Ireland. The success of the single prompted the song to appear in four episodes of The Monkees TV show throughout December 1966. Neil Diamond had already recorded this song before it was covered by The Monkees, a revised recording by Diamond, featuring additional lyrics, appears on the album September Morn, while his original recording appeared on the 1967 album Just for You. Diamond also suggested it to The Fifth Estate who recorded it as a 1967 album cut to follow up their hit Ding-Dong, the Monkees recording kept the novelty hit Snoopy Vs. The Red Baron, by The Royal Guardsmen, at two for four weeks, and from reaching the Hot 100s summit. Session guitarist Al Gorgoni had worked on Diamonds Cherry, Cherry, other personnel on the record include Sal Ditroia on guitar, Carol Kaye on bass, Artie Butler on Vox Continental organ, Jeff Barry on piano and tambourine, and Buddy Saltzman on drums. In 2008, the song ranked No.1 on Dallas station KLUV98. 7FMs Top 500 Memorial Day Countdown, the song is listed at No.48 on Billboards All Time Top 100. It was Wyatts first recording after the June 1973 accident that left him a paraplegic, in 1995, British comedians Vic Reeves and Bob Mortimer teamed up with the band EMF for a version which reached No.3 on the UK Singles Chart. American pop rock band Smash Mouth covered the song in 2001, as part of the soundtrack to the movie Shrek, eddie Murphy, portraying the character Donkey, also performed a rendition of the song in the film. The song was chosen for its line, I thought love was only true in fairy tales. Subsequently, the song was played as music for the Broadway musical adaptation of the film. Weezer also had a version of the song at the end of Shreks 2010 sequel Shrek Forever After and this version hit number 25 on the Billboard Hot 100. Neil Diamond Show Lyrics of this song at MetroLyrics
15.
Phonograph record
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The groove usually starts near the periphery and ends near the center of the disc. The phonograph disc record was the medium used for music reproduction until late in the 20th century. It had co-existed with the cylinder from the late 1880s. Records retained the largest market share even when new formats such as compact cassette were mass-marketed, by the late 1980s, digital media, in the form of the compact disc, had gained a larger market share, and the vinyl record left the mainstream in 1991. The phonograph record has made a resurgence in the early 21st century –9.2 million records were sold in the U. S. in 2014. Likewise, in the UK sales have increased five-fold from 2009 to 2014, as of 2017,48 record pressing facilities remain worldwide,18 in the United States and 30 in other countries. The increased popularity of vinyl has led to the investment in new, only two producers of lacquers remains, Apollo Masters in California, USA, and MDC in Japan. Vinyl records may be scratched or warped if stored incorrectly but if they are not exposed to heat or broken. The large cover are valued by collectors and artists for the space given for visual expression, in the 2000s, these tracings were first scanned by audio engineers and digitally converted into audible sound. Phonautograms of singing and speech made by Scott in 1860 were played back as sound for the first time in 2008, along with a tuning fork tone and unintelligible snippets recorded as early as 1857, these are the earliest known recordings of sound. In 1877, Thomas Edison invented the phonograph, unlike the phonautograph, it was capable of both recording and reproducing sound. Despite the similarity of name, there is no evidence that Edisons phonograph was based on Scotts phonautograph. Edison first tried recording sound on a paper tape, with the idea of creating a telephone repeater analogous to the telegraph repeater he had been working on. The tinfoil was wrapped around a metal cylinder and a sound-vibrated stylus indented the tinfoil while the cylinder was rotated. The recording could be played back immediately, Edison also invented variations of the phonograph that used tape and disc formats. A decade later, Edison developed a greatly improved phonograph that used a wax cylinder instead of a foil sheet. This proved to be both a better-sounding and far more useful and durable device, the wax phonograph cylinder created the recorded sound market at the end of the 1880s and dominated it through the early years of the 20th century. Berliners earliest discs, first marketed in 1889, but only in Europe, were 12.5 cm in diameter, both the records and the machine were adequate only for use as a toy or curiosity, due to the limited sound quality
16.
Hollywood
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Hollywood is an ethnically diverse, densely populated neighborhood in the central region of Los Angeles, California. It is notable as the home of the U. S. film industry, including several of its studios, and its name has come to be a shorthand reference for the industry. Hollywood was a community in 1870 and was incorporated as a municipality in 1903. It was consolidated with the city of Los Angeles in 1910, in 1853, one adobe hut stood in Nopalera, named for the Mexican Nopal cactus indigenous to the area. By 1870, an agricultural community flourished, the area was known as the Cahuenga Valley, after the pass in the Santa Monica Mountains immediately to the north. According to the diary of H. J. Whitley, known as the Father of Hollywood, along came a Chinese man in a wagon carrying wood. The man got out of the wagon and bowed, the Chinese man was asked what he was doing and replied, I holly-wood, meaning hauling wood. H. J. Whitley had an epiphany and decided to name his new town Hollywood, Holly would represent England and wood would represent his Scottish heritage. Whitley had already started over 100 towns across the western United States, Whitley arranged to buy the 500-acre E. C. Hurd ranch and disclosed to him his plans for the land. They agreed on a price and Hurd agreed to sell at a later date, before Whitley got off the ground with Hollywood, plans for the new town had spread to General Harrison Gray Otis, Hurds wife, eastern adjacent ranch co-owner Daeida Wilcox, and others. Daeida Wilcox may have learned of the name Hollywood from Ivar Weid, her neighbor in Holly Canyon and she recommended the same name to her husband, Harvey. In August 1887, Wilcox filed with the Los Angeles County Recorders office a deed and parcel map of property he had sold named Hollywood, Wilcox wanted to be the first to record it on a deed. The early real-estate boom busted that year, yet Hollywood began its slow growth. By 1900, the region had a post office, newspaper, hotel, Los Angeles, with a population of 102,479 lay 10 miles east through the vineyards, barley fields, and citrus groves. A single-track streetcar line ran down the middle of Prospect Avenue from it, but service was infrequent, the old citrus fruit-packing house was converted into a livery stable, improving transportation for the inhabitants of Hollywood. The Hollywood Hotel was opened in 1902 by H. J. Whitley who was a president of the Los Pacific Boulevard, having finally acquired the Hurd ranch and subdivided it, Whitley built the hotel to attract land buyers. Flanking the west side of Highland Avenue, the structure fronted on Prospect Avenue, the hotel was to become internationally known and was the center of the civic and social life and home of the stars for many years. Whitleys company developed and sold one of the residential areas
17.
Garage rock
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Garage rock is a raw and energetic style of rock and roll that flourished in the mid-1960s, most notably in the United States and Canada. The term derives from the perception that groups were made up of young amateurs who rehearsed in the family garage. The style, a precursor to rock, is characterized by aggressive and unsophisticated lyrics and delivery. In the US and Canada, surf rock—and later the Beatles, hundreds of acts produced regional hits, and some had national hits. Though largely associated with North America, counterparts were present elsewhere as part of the beat boom of the era. As critics of the period began to prescribe a scope for genre, they used the term punk rock. Garage rock has experienced various revivals in the years and continues to influence acts who prefer a back to basics. In the early- to mid-1980s, several garage revival scenes sprung up featuring acts that consciously attempted to replicate the look, in the 2000s, a wave of garage rock revival acts associated with the post-punk revival emerged, and a handful achieved airplay and commercial success. The term garage rock comes from the perception that its performers were young and amateurish, while numerous bands were made up of middle-class teenagers from the suburbs, others were from rural or urban areas or were composed of professional musicians in their twenties. The term garage band often refers to acts in this genre. Garage bands performed in a variety of venues, less-established groups typically played at parties, school dances, and teen clubs. For acts of legal age, bars, nightclubs, and college fraternity socials also provided regular engagements, occasionally, local groups had the opportunity to open at shows for famous touring acts. Some garage rock bands went on tour, particularly better-known acts, groups often competed in battles of the bands, which gave musicians an opportunity to gain exposure and a chance to win a prize, such as free recording time in a local studio. Battles of the bands were held, locally, regionally and nationally, and two of the most prestigious contests were held annually by the Tea Council of the U. S. A. and the Music Circus. Performances often sounded amateurish, naïve or intentionally raw, with typical themes revolving around the traumas of high school life, instrumentation was characterized by electric guitars often distorted through a fuzzbox, teamed with bass and drums. Guitarists sometimes played using aggressive-sounding bar chord riffs, sometimes referred to as power chords, organs such as the Farfisa were commonly used as well as mouth harmonicas or hand-held percussion such as tambourines. Occasionally, the tempo sped up in certain passages, sometimes referred to as raveups, Garage rock acts were diverse in both musical ability and in style, ranging from crude two- and three-chord music to near-studio musician quality. There were also variations in flourishing scenes, such as in California
18.
Proto-punk
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Proto-punk is the rock music played by garage bands from the 1960s and early 1970s that presaged the punk rock movement. According to the Allmusic guide, Proto-punk was never a cohesive movement, what ties proto-punk together is a certain provocative sensibility that didnt fit the prevailing counterculture of the time. It was consciously subversive and fully aware of its outsider status, in terms of its lasting influence, much proto-punk was primitive and stripped-down, even when it wasnt aggressive, and its production was usually just as unpolished. It also frequently dealt with subject matter, depicting societys grimy underbelly in great detail. Many bands were active in the mid-to-late 1960s playing garage rock, many of such bands are likewise regarded as examples of proto-punk. The Sonics 1965 debut album Here Are the Sonics has been called a template for punk rock. The raw sound and outsider attitude of psychedelic garage bands like the Seeds also presaged the style of bands that would become known as the figures of proto-punk. In 1969, debut albums by two key proto-punk bands were released, Detroits MC5 released Kick Out the Jams in January, in Bogdanov, Vladimmir, Woodstra, Chris, Erlewine, Stephen Thomas. All Music Guide to Rock, The Definitive Guide to Rock, Pop, the A to X of Alternative Music. Lipstick Traces, A Secret History of the Twentieth Century
19.
Colgems Records
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Colgems Records was a record label that existed from 1966 to 1971. It was a joint venture between Screen Gems, the division of Columbia Pictures, and RCA Records to issue records by the Monkees. The label would also issue soundtrack recordings for Screen Gems and Columbia Pictures productions, RCA acted as manufacturer and distributor for Colgems. An earlier label, Colpix Records, was dissolved to make way for the new company, even before the Monkees began, Colpix had signed two future members – Davy Jones, recruited to Screen Gems by Ward Sylvester, and Michael Nesmith, who recorded as Michael Blessing. Eventually, the Colpix catalog was sold to Roulette Records, today, the Colpix catalog is owned jointly by Rhino/Warner and EMI. The non-Monkees Colgems roster included Sally Field, Jewel Akens, Sajid Khan, Paula Wayne, limited, the Hung Jury, Fountain of Youth, The Lewis & Clarke Expedition, Hoyt Axton, Alex Keenan and comedian Rich Little. In Cold Blood, Head and Guess Whos Coming to Dinner were also released on Colgems, Colgems Records slumped after the critical and commercial failure of the final Monkees album Changes, which featured only Davy Jones and Micky Dolenz. The labels last release, titled Barrel Full of Monkees and showcasing its flagship act, appeared in 1971, Colgems then closed, and its master recordings and artists were folded into the Bell Records family, which, unlike Colgems, was wholly owned by Columbia Pictures. Bell itself was closed, and Columbias music division was reorganized into Arista Records. In 1979, Columbia Pictures sold Arista to BMG-owned Ariola Records, six years later, Ariolas parent company, BMG, merged with RCA Records. Today, the assets of Colgems Records is controlled by Sony Music Entertainment, the parent company, Sony, acquired Columbia Pictures in 1989. All of The Monkees recordings are currently owned by Rhino Records, Rhino acquired the entire Monkees audio catalog, The Monkees TV series, their 1968 feature film Head, and the rights to The Monkees name and logo, in August 1994. SME merged Arista into RCA Records in 2011, a label related to Colgems was SGC Records. SGC issued albums by Nazz through Atlantic Records in a deal similar to the one Screen Gems held with RCA. List of record labels The Colpix/Colgems story
20.
Last Train to Clarksville
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Last Train to Clarksville was the debut single by The Monkees. It was released August 16,1966 and later included on the groups 1966 self-titled album, which was released on October 10,1966. The song, written by Tommy Boyce and Bobby Hart was recorded at RCA Victor Studio B in Hollywood on July 25,1966 and was already on the Boss Hit Bounds on 17 August 1966, the song topped the Billboard Hot 100 on November 5,1966. Lead vocals were performed by The Monkees drummer Micky Dolenz, last Train to Clarksville was featured in seven episodes of the Monkees TV show, the most for any Monkees song. The Beatles song had been one in the US charts three months earlier. The lyrics tell of a man phoning the woman he loves, urging her to him at a train station in Clarksville before he must leave. The Vietnam War was then going on, and what was not made explicit was that the song was about a soldier leaving for the war zone. It is often said that the song refers to Clarksville, Tennessee, which is near Fort Campbell, Kentucky, the home of the 101st Airborne Division, however, according to songwriter Bobby Hart, it was not specifically written with that town in mind. Hart said, We were just looking for a name that sounded good, theres a little town in northern Arizona I used to go through in the summer on the way to Oak Creek Canyon called Clarksdale. We were throwing out names, and when we got to Clarksdale and we didnt know it at the time, there is an Army base near the town of Clarksville, Tennessee — which would have fit the bill fine for the story line. We couldnt be too direct with The Monkees and we couldnt really make a protest song out of it — we kind of snuck it in. Though Clarksville is in the title, the video accompanying the song on the Monkees TV show showed a sign pointing to Clarkesville. Hart got the idea for the lyrics when he turned on the radio and he thought Paul McCartney was singing Take the last train, and decided to use the line when he found out McCartney was actually singing Paperback Writer. Hart knew that The Monkees TV series was pitched as a series in the spirit of The Beatles movie A Hard Days Night. To do that, he made sure to put a guitar riff in this song. Although LAs Wrecking Crew provided the instrumentals for many early Monkees songs, Boyce, the lead guitar was written and played by Louie Shelton. Zadnji voz za Čačak is a song by Serbian and former Yugoslav rock band Riblja Čorba, b-side features the song Lud sto posto
21.
A Little Bit Me, a Little Bit You
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A Little Bit Me, A Little Bit You is a song by Neil Diamond that was released by The Monkees in 1967. Davy Jones sang the lead vocal and it went to #1 in the US Cashbox charts and #2 on the Billboard charts. The records B-side was Michael Nesmiths The Girl I Knew Somewhere and it was also included in the Im A Believer EP in Europe that year. Neil Diamond never made a recording of the song. At least one recording of such a performance exists and circulates, while the band members themselves chose which songs they would record, Kirshner tended to favor his writing stable for record releases, singles in particular. B-sides to singles, which paid the royalty rates as A-sides, were reserved as a kind of bonus for the Brill Building writers. While the Monkees were willing to cooperate with Kirshner, he was not willing to reciprocate or to listen to many of their ideas, Michael Nesmith led the band through a struggle for more creative control, and the chance to play their own accompaniment on records. He, in particular, wanted his songs featured on Monkees singles, early in 1967, the band recorded two songs for selection as their next single, All of Your Toys and a remake of The Girl I Knew Somewhere, both with Micky Dolenz on lead vocals. With Diamonds Im a Believer already a hit, Kirshner gave Diamond first shot at writing a followup and he persuaded Davy Jones to fly to New York and record a solo session with producer Jeff Barry in February 1967. Barry produced Diamonds newest offerings, and also his own She Hangs Out, a Little Bit Me, A Little Bit You and She Hangs Out were chosen by Kirshner for the next Monkees single. He also authorized pressing and distribution of the single picture sleeve. Kirshners reasoning was that a third Monkees hit in a row, done his way and he also pressed a number of promo copies, bearing the label My Favorite Monkee - Davy Jones Sings. The Monkees themselves were irritated enough that an album, More of the Monkees, had been issued with no input from them save their vocals. They lobbied the shows producers, Bob Rafelson and Bert Schneider, for a role in their music output. When copies of Kirshners single appeared in Canada, and the song began to get airplay in both Canada and the US, Kirshner was dismissed, on the grounds that he had issued an unauthorized record, the single was withdrawn in Canada, and canceled in the US. The backing vocals are not identified in the credits of any of the collections the song appears on, the Monkees Tale, by Eric Lefcowitz, ISBN9780867193381 The Monkees Greatest Hits, liner notes Lyrics of this song at MetroLyrics
22.
Micky Dolenz
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Dolenz was born at the Cedars of Lebanon Hospital, in Los Angeles, California, the son of actors George Dolenz and Janelle Johnson. Dolenz began his business career in 1956 when he starred in a children’s show called Circus Boy under the name Mickey Braddock. He played a water boy for the elephants in a one-ring circus at the start of the 20th century. The program ran for two seasons, after which Dolenz made sporadic appearances on television shows and pursued his education. Dolenz went to Ulysses S. Grant High School in Valley Glen, Los Angeles, California, and graduated in 1962. In 1964, he was cast as Ed in the episode Born of Kings and Angels of the NBC education drama series, Mr. Novak, Dolenz was attending college in Los Angeles when he was hired for the drummer role in NBCs The Monkees. Although it has been written about, Micky Dolenz originally had his own rock group called Micky And The One-Nighters in the early-mid 60s with himself as lead singer. He even had penned at least one or two tunes of his own at the time. According to Dolenz his bands live stage act included a lot of Rock songs, cover songs and even some R&B and it would indeed be Johnny B. Good that Dolenz sang at his Monkees audition and that got him hired for the show, what is equally interesting is that he had actually cut two 45s in 1965 but that they went unreleased until the Monkees great success in 1967. He was not at that time a drummer and he needed lessons even to be able to mime credibly but eventually was taught how to play properly. By the time The Monkees went on tour in late 1966, Tommy Boyce and Bobby Hart, writers of many of The Monkees songs, observed quickly that when brought into the studio together, the four actors would try to crack each other up. Because of this, they would bring in each singer individually. The antics escalated until one time Micky poured a cup of coke on Don Kirshners head, at the time, Dolenz did not know Kirshner on sight. Dolenz wrote a few of the band’s self-penned songs as well as providing the vocals for such hits as Last Train to Clarksville, Take a Giant Step. Towards the end of the series’ hectic two-year run, Dolenz directed, Micky purchased one of the first 25 Moog synthesizers, the third Moog Synthesizer ever commercially sold. His performance on the Monkees song Daily Nightly from the LP Pisces, Aquarius and he eventually sold his instrument to Bobby Sherman. Since Davy Joness death in 2012, Dolenz has been the member of The Monkees who has been with the band continuously since its inception
23.
Larry Taylor
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Samuel Lawrence Larry Taylor is an American bass guitarist, best known for his work as a member of Canned Heat from 1967. Before joining Canned Heat he had been a session bassist for The Monkees and he is the younger brother of Mel Taylor, long-time drummer for The Ventures. Taylor was born in New York, New York and his mother was Jewish and his father was a WASP from Tennessee. Taylor played bass guitar in The Gamblers, one of the first rock groups to play instrumental surf music, the Gamblers had a local hit in the Los Angeles area with Moon Dawg and Taylor played on the recording. Taylor played with Canned Heat from 1967 to 1970, and appeared with them at festivals including the Monterey International Pop Festival. His band nickname was The Mole, in addition to playing bass, he also played lead guitar on occasion. An example can be heard on the track Down In the Gutter, But Free, in 1969, due to a dispute with Taylor, Henry Vestine left the band. Guitarist Harvey Mandel filled the void as the lead guitarist. In 1970, when John Mayall moved to Los Angeles, Taylor, after the Bluesbreakers tours, Taylor played briefly with the Sugarcane Harris Band. In 1974, Taylor became part of The Hollywood Fats Band led by Mike Hollywood Fats Mann, the two of them joined Canned Heat for a King Biscuit Flower Hour concert in 1979. Taylor recorded Reheated in 1988, again with Canned Heat and he toured and recorded with his former band a few more times until 1999. In 2007, Taylor and Harvey Mandel reunited with Fito de la Parra, Taylor, Mandel and de la Parra were all in the line-up that played Woodstock. The three members of Canned Heats Woodstock line-up have toured extensively from 2009 to 2013, recently, Taylor has become a leading exponent and practitioner of the acoustic upright bass in the contemporary blues scene. He is quite prominently seen with his bass in the live blues film. He was also featured in a concert DVD released in winter 2013 and this concert features three elder piano players — Dixon, Pinetop Perkins and Henry Gray — and was filmed at the Rhythm Room in Phoenix, Arizona on June 1 and 2,2006. Taylor has played on numerous Tom Waits albums and is the player in his touring band. In 2014, Taylor was nominated for a Blues Music Award in the Best Instrumentalist – Bass category. Finis Tasby, 1998) New Depths Soul Disguise Zero Zero Zero, The Best of Sam Phillips Something Good for Your Head Im Going All the Way I Can Tell World Wide Wood Mo NaKins, Please
24.
Stereophonic sound
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Stereophonic sound or, more commonly, stereo, is a method of sound reproduction that creates an illusion of multi-directional audible perspective. Thus the term applies to so-called quadraphonic and surround-sound systems as well as the more common two-channel. It is often contrasted with monophonic, or mono sound, where audio is heard as coming from one position, in the 2000s, stereo sound is common in entertainment systems such as broadcast radio and TV, recorded music and the cinema. The word stereophonic derives from the Greek στερεός, firm, solid + φωνή, sound, tone, voice and it was coined in 1927 by Western Electric, the signal is then reproduced over multiple loudspeakers to recreate, as closely as possible, the live sound. Secondly artificial or pan-pot stereo, in which a sound is reproduced over multiple loudspeakers. By varying the amplitude of the signal sent to each speaker an artificial direction can be suggested. The control which is used to vary this relative amplitude of the signal is known as a pan-pot, by combining multiple pan-potted mono signals together, a complete, yet entirely artificial, sound field can be created. In technical usage, true stereo sound recording and sound reproduction that uses stereographic projection to encode the relative positions of objects and events recorded. During two-channel stereo recording, two microphones are placed in strategically chosen locations relative to the source, with both recording simultaneously. The two recorded channels will be similar, but each will have distinct time-of-arrival and sound-pressure-level information, during playback, the listeners brain uses those subtle differences in timing and sound level to triangulate the positions of the recorded objects. Stereo recordings often cannot be played on systems without a significant loss of fidelity. This phenomenon is known as phase cancellation and this two-channel telephonic process was commercialized in France from 1890 to 1932 as the Théâtrophone, and in England from 1895 to 1925 as the Electrophone. Both were services available by coin-operated receivers at hotels and cafés, modern stereophonic technology was invented in the 1930s by British engineer Alan Blumlein at EMI, who patented stereo records, stereo films, and also surround sound. In early 1931, Blumlein and his wife were at a local cinema, Blumlein declared to his wife that he had found a way to make the sound follow the actor across the screen. The genesis of ideas is uncertain, but he explained them to Isaac Shoenberg in the late summer of 1931. His earliest notes on the subject are dated 25 September 1931, the application was dated 14 December 1931, and was accepted on 14 June 1933 as UK patent number 394,325. The patent covered many ideas in stereo, some of which are used today and these discs used the two walls of the groove at right angles in order to carry the two channels. Much of the development work on this system for cinematic use did not reach completion until 1935, in Blumleins short test films, his original intent of having the sound follow the actor was fully realised
25.
Monaural
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Monaural or monophonic sound reproduction is intended to be heard as if it were a single channel of sound perceived as coming from one position. Monaural recordings, like stereo, customarily use multiple microphones, fed into multiple channels on a recording console, in some cases the multitrack source is mixed down to a one track tape becoming one signal. However, today monaural recordings are usually mastered to be played on stereo and multi-track formats, monaural sound has been replaced by stereo sound in most entertainment applications. However, it remains the standard for communications, telephone networks. A few FM radio stations, particularly talk radio shows, choose to broadcast in monaural, as a monaural signal has a slight advantage in signal strength over a stereophonic signal of the same power. Monaural sound is normal on, Phonograph cylinders Disc records made before 1958, such as made for playing at a speed of 78 rpm and earlier 16 2⁄3, 33 1⁄3. Some FM radio stations that broadcast only spoken word or talk radio content in order to maximize their coverage area, examples of this would be the CBC Radio One stations on the FM dial. Sometimes listeners will not be convinced that the signal is strong since there is no ST or STEREO LED lit, subcarrier signals for FM radio, which carry leased content such as background music for businesses or a radio reading service for the blind. Background music services such as Seeburg 1000, satellite broadcasts by Muzak as well as the public systems such services are intended to be used with. At various times artists have preferred to work in mono, either in recognition of the limitations of the equipment of the era or because of simple preference. Many of Stanley Kubrick and Woody Allens movies were recorded in mono because of their directors preferences, monaural LP records were eventually phased out and no longer manufactured after the early 1970s, with a few exceptions. For example, Decca UK had a few double issues until the end of 1970-the last one being Tom Joness I Who Have Nothing, during the 1960s it was common for albums to be released as both monaural LPs and stereo LPs, occasionally with slight differences between the two. This was because many people owned mono record players that were incapable of playing stereo records, on 9 September 2009, The Beatles re-released a remastered box set of their mono output spanning the Please Please Me album to The Beatles. The set, simply called The Beatles in Mono, also includes a summary of the mono singles, B-sides. Also included were five tracks originally mixed for an unissued mono Yellow Submarine EP, Bob Dylan followed suit on October 19,2010 with The Original Mono Recordings, a box set featuring the mono releases from Bob Dylan to John Wesley Harding. When the initial run of the box set sold out, no more were pressed, unlike the Beatles, sometimes mono sound or monaural can simply refer to a merged pair of stereo channels - also known as collapsed stereo or folded-down stereo. Over time some devices have used mono sound amplification circuitry with two or more speakers since it can cut the cost of the hardware, some consumer electronics with stereo RCA outputs have a microswitch in the red RCA output that disables merging of stereo sound into the white RCA output. Common devices with this are VCRs, DVD/Blu-ray players, information appliances, set-top boxes, video game consoles sometimes have male RCA ends of cables with a proprietary multi-A/V plug on the other end, which prevents automatic stereo merging unless adapters are used
26.
Coda (music)
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Coda is a term used in music primarily to designate a passage that brings a piece to an end. Technically, it is an expanded cadence and it may be as simple as a few measures, or as complex as an entire section. The presence of a coda as an element in a movement is especially clear in works written in particular musical forms. Codas were commonly used in both form and variation movements during the Classical era. In a sonata movement, the recapitulation section will, in general, follow the exposition in its thematic content. In works in form, the coda occurs following the last variation. For one famous example, see Symphony No.8, codetta has a similar purpose to the coda, but on a smaller scale, concluding a section of a work instead of the work as a whole. A typical codetta concludes the exposition and recapitulation sections of a work in sonata form, following the second theme, thus, in the exposition, it usually appears in the secondary key, but, in the recapitulation, in the primary key. The codetta ordinarily closes with a cadence in the appropriate key. If the exposition is repeated, the codetta is also, but sometimes it has its ending slightly changed, cauda, a Latin word meaning tail, edge or trail is the root of coda and is used in the study of conductus of the 12th and 13th centuries. The cauda was a long melisma on one of the last syllables of the text, conducti were traditionally divided into two groups, conductus cum cauda and conductus sine cauda, based on the presence of the melisma. Thus, the cauda provided a role, also similar to the modern coda. Many songs in rock and other genres of music have sections identifiable as codas. A coda in these genres is sometimes referred to as an outro, while in jazz, modern church music, in music notation, the coda symbol, which resembles a set of crosshairs, is used as a navigation marker, similar to the dal Segno sign. It is used where the exit from a section is within that section rather than at the end. The instruction To Coda indicates that, upon reaching that point during the final repetition, for example, this can be used to provide a special ending for the final verse of a song. Coda Da capo Epilogue Repeat sign Transition Fade This article incorporates text from a now in the public domain, Chisholm, Hugh
27.
Tom Petty and the Heartbreakers
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Tom Petty and the Heartbreakers are an American rock band from Gainesville, Florida. In 1976, the original lineup was Tom Petty as the lead singer and guitar player, Mike Campbell as the lead guitarist, Ron Blair on bass, Stan Lynch on drums. The band has maintained this lineup, with a few exceptions. In 1981, Blair, who was tired of the touring lifestyle, blairs replacement, Howie Epstein, stayed with the band for the next twenty years. Scott Thurston joined the band as a multi-instrumentalist, mostly rhythm guitar and second keyboards, Blair returned to the Heartbreakers in 2002, the year before Epsteins death. In 1994, Steve Ferrone replaced Lynch, Tom Petty and the Heartbreakers were on the forefront of the heartland rock movement, alongside artists such as Bruce Springsteen and Bob Seger, which arose in the late 1970s and 1980s. Petty and the Heartbreakers are known for hit singles such as American Girl, Breakdown, The Waiting, Learning to Fly, Refugee, while the heartland rock movement fizzled in the 1990s, the band remained active and popular. They still tour regularly and continue to record albums and their most recent, Hypnotic Eye, was released on July 25,2014. Although most of their material is produced and performed under the name The Heartbreakers, in these releases, members of the band contributed as collaborators, producing and performing as studio musicians. Pettys early bands included the Sundowners, the Epics, and Mudcrutch, in 1974, Mudcrutch signed with Shelter Records and re-located to Los Angeles, California. The band released one single, Depot Street, in 1975, which failed to chart, in December 1975 Tom Petty and the Heartbreakers formed. The Heartbreakers began their career with a self-titled album, released through the aforementioned Shelter label. Initially, the Heartbreakers did not gain traction in America. Early singles included Breakdown and American Girl, Breakdown was re-released in the USA and became a Top 40 hit in 1978, after word filtered back to the States that the band was creating a firestorm in the UK. Their 1978 second album, Youre Gonna Get It, marked the bands first gold album, and featured the singles I Need to Know and Listen To Her Heart. In 1979, the band was dragged into a dispute when ABC Records. Petty refused to be transferred to another record label and he held fast to his principles, which led to his filing for bankruptcy as a tactic against MCA. In 1979, after their dispute was settled, the Heartbreakers released their third album Damn the Torpedoes through MCAs Backstreet label
28.
Vicious White Kids
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The Vicious White Kids was an English punk rock band from London that formed for one concert on 15 August 1978, staged at the Electric Ballroom in London. The former bassist of Sex Pistols, Sid Vicious, was the lead singer and it was his final concert in England, as he died of a heroin overdose the following February. The 2007 release includes an interview with Matlock and Scabies, the Belfast Telegraph, after the release of the 2007 album, called the music raw and wonderfully chaotic. Vicious was due to fly to New York and needed some funds, Matlock, whom Vicious had replaced in the Sex Pistols, saw it is an opportunity to show there was no animosity between them, he later commented. Matlock recruited his Rich Kid bandmate Steve New on guitar and The Damneds Rat Scabies completed the line up on drums, Nancy Spungen sang backing vocals but after hearing her at rehearsals, Matlock made sure her microphone was not plugged in on the night of the gig. The name of the came from an amalgamation of Sid Vicious, The Rich Kids. The Vicious White Kids are described as punk rock, much like Glen Matlock and Sid Vicious’ former band. The White Kids have also described as a chaotic punk rock. The band was much better behaved, and less wild. Vicious did not do any on stage antics during the White Kids’ Camden Electric Ballroom concert, the band performed in the Camden Electric Ballroom, a fairly well known, but small two story concert venue in London, England. The Camden Electric Ballroom still exists, and is used today, still as a venue for concerts, the Vicious White Kids also performed “I wanna be your dog” by the Stooges, and “I’m not your steppin’ stone” by the Monkees. These songs are what the band is most remembered for their performance of No videos of the actual 1978 Camden Electric Ballroom concert itself exist, the band performed, and was tame, a stark contrast to what Sid Vicious had been while with the Sex Pistols. Following the 1978 Camden Electric Ballroom concert, the band became almost completely inactive in the music world and they would be permanently disbanded when Sid Vicious murdered Nancy Spungen by stabbing her, while both were high on heroin in a hotel room in 1979. The Camden Electric Ballroom concert would be the one and only complete concert that the Vicious White Kids would perform as a band. Sid Vicious had struggled with heroin addiction, since he was age 15. Vicious would then commit suicide at a party by overdosing on heroin, with him at the party were his mother and his new girlfriend, Michelle Robinson, whom Vicious had started dating after he murdered Nancy. Vicious was cremated, his ashes spread over ’s grave, which was inside of a Jewish cemetery, Vicious was unable to be buried with Nancy, due to her being a Jew, and him not being one. Glen Matlock, Rat Scabies and Steve New, were the remaining Vicious White Kids members and they all moved on with their careers after Vicious and Spungen’s deaths
29.
Johnny Thunders
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John Anthony Genzale Jr. better known by his stage name Johnny Thunders, was an American rock and roll/punk rock guitarist, singer and songwriter. He came to prominence in the early 1970s as a member of the New York Dolls and he later played with The Heartbreakers and as a solo artist. Thunders was born John Anthony Genzale, Jr. in Queens, New York and his first musical performance was in the winter of 1967 with The Reign. In 1968 he began going to the Fillmore East and Bethesda Fountain in Central Park on weekends and his older sister, Mariann, started styling his hair like Keith Richards. In late 1969 he got a job as a clerk at DNaz leather shop, on Bleecker Street in the West Village. He and his girlfriend, Janis Cafasso, went to see The Rolling Stones at Madison Square Garden in November 1969, in London, after the Isle of Wight Festival, the following summer, his girlfriend Janis fell sick and they flew home. Back in NYC from the UK, toward the end of 1970, he started hanging out at Nobodys and it was near there that he met future Dolls Arthur Kane and Rick Rivets. He joined their band Actress, which later, after firing Rivets and adding David Johansen, Sylvain Sylvain and Billy Murcia and it was then that he adopted the stage name Johnny Thunders, inspired by a comic book hero. It was raunchy, nasty, rough, raw, and untamed, I thought it was truly inspired. Adding His sound was rich and fat and beautiful, like a voice, the New York Dolls were signed to Mercury Records, with the help of A & R man Paul Nelson. Thunders recorded two albums with the band, New York Dolls and Too Much Too Soon and they were managed by Marty Thau, and booked by Leber & Krebs. Subsequently they worked with Malcolm McLaren for several months, later becoming a prototype for the Sex Pistols. In 1975 Thunders and Nolan left the band, though Johansen and Sylvain continued playing, along with Peter Jordon, Tony Machine and Chris Robison, Thunders formed The Heartbreakers with former New York Dolls drummer Jerry Nolan and former Television bassist Richard Hell. Walter Lure, former guitarist for the New York City punk band The Demons was soon added, after conflict arose between Thunders and Hell, Hell left to form Richard Hell and the Voidoids and was replaced by Billy Rath. The group stayed in the UK throughout 1977, where their popularity was greater than in the U. S. particularly among punk bands. While in Britain they were signed to Track Records and released their official studio album. An abbreviation for Like A Mother Fucker, L. A. M. F. was received positively by critics and fans alike, but was criticised for its poor production. Displeased with the production, the members were soon competing with one other, mixing and remixing the record
30.
Minor Threat
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Minor Threat was a hardcore punk band, formed in 1980 in Washington, D. C. and disbanded in 1983. The band was relatively short-lived, but had a influence on the punk scene. Minor Threats song Straight Edge became the basis of the straight edge movement. AllMusic described Minor Threats music as iconic and noted that their music has held up better than most of their contemporaries. Along with the fellow Washington, D. C. hardcore band Bad Brains and California band Black Flag, all of Minor Threats recordings were released on Ian MacKaye and Jeff Nelsons own label, Dischord Records. The Minor Threat EP and their only studio album Out of Step have received a number of accolades and are cited as landmarks of the hardcore punk genre. Prior to forming Minor Threat in 1980, vocalist Ian MacKaye and drummer Jeff Nelson had played bass, MacKaye and Nelson were strong believers in the DIY mentality and an independent, underground music scene. C. Eager to start a new band after the Teen Idles, MacKaye and Nelson recruited guitarist Lyle Preslar and bassist Brian Baker. They played their first performance in December 1980 to fifty people in a basement, opening for Bad Brains, The Untouchables, Black Market Baby, the bands first 7 EPs, Minor Threat and In My Eyes, were released in 1981. The group became popular regionally and toured the east coast and Midwest, Straight Edge, a song from the bands first EP, helped to inspire the straight edge movement. The lyrics of the call for abstinence from alcohol and other drugs. Other prominent groups that advocated the straight edge stance include SS Decontrol and 7 Seconds. Out of Step, A Minor Threat song from their second EP, further demonstrates the said belief, some of the other members of Minor Threat, Jeff Nelson in particular, took exception to what they saw as MacKayes imperious attitude on the song. Minor Threats song Guilty of Being White led to accusations of racism. He claims that his experiences attending Wilson High School, whose student population was 70 percent black, there, many students bullied MacKaye and his friends. Thrash metal band Slayer later covered the song, with the last iteration of the lyric Guilty of being changed to Guilty of being right. In an interview, MacKaye stated that he was offended that some perceived racist overtones in the lyrics, saying, To me, at the time and now, it seemed clear its an anti-racist song. Of course, it didnt occur to me at the time I wrote it that anybody outside of my twenty or thirty friends who I was singing to would ever have to ponder the lyrics or even consider them
31.
The Farm (British band)
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The Farm are a British band from Liverpool. Their first album, Spartacus, reached the top position in the UK Albums Chart when it was released in March 1991, it includes two songs which had been top 10 singles the year before. In 2012, they toured with their Spartacus Live shows and formed part of The Justice Tonight Band, supporting The Stone Roses at Heaton Park, Phoenix Park, Lyon and Milan. The Justice Collective had the 2012 Christmas number one with their recording of He Aint Heavy, the Farm continued to perform at festivals in 2015 and planned acoustic performances throughout that year. They will appear at the Shiiine Music Festival in November,2015, the Farm are releasing a brand new EP which is now available through Pledge Music Its a four track E. P. “Feel The Love” and was announced on John Robbs Louder Than War online music magazine, the band evolved from an earlier group called The Excitements, initially including Phil Stephenson on bass guitar, Neil Campbell on drums, Grimes on guitar and Thomas. They became The Farm after Martin Dunbar left and Peter Hooton joined, in 1984, they released the single, Hearts and Minds, produced by Graham Suggs McPherson, lead vocalist with Madness. In 1987, the band supported The Housemartins on their UK tour, after the departure of Melvin and the death of McVann, Hooton brought in a new line-up. They released four independent singles, but did not have a big break until 1990, in 1989, the band had been given a cameo role in the movie The Final Frame starring Suggs. They were signed after this and hired Suggs as their producer and they appeared in The Face, an influential popular culture magazine in the UK, and their promotion of No alla violenza anti-hooligan T-shirts during Italia 90 helped to raise their profile further. The Farms first song to reach the top part of the UK Singles Chart was Groovy Train, during the summer that year theyd played in Ibiza and were a key feature in the film A Short Film About Chilling. In late November that year, they released their most memorable song, All Together Now and it was on the crest of this wave that their album Spartacus reached No.1 in the UK the following year. This success was short-lived, and their first single for a label, Love See No Colour, did not perform well. The band joined up with Mark Saunders, who had produced Erasure and they released a cover version of The Human Leagues Dont You Want Me, which reached the Top 20 in 1992. In 1994, they released the album Hullabaloo on the Sire label and their most recent release was Alltogethernow 2004, featuring the S. F. X. Boys Choir of Liverpool, as the anthem of the England National Football Team at Euro 2004. The Farm were also central to the track released to commemorate the Hillsborough disaster, The Fields of Anfield Road, the Farm was also one of the first bands to perform at the Echo Arena Liverpool when it opened in January 2008. This comprised Mick Jones from The Clash, Pete Wylie from The Mighty Wah, John Power and this then formed the core of The Justice Tonight Band which toured from 2011 to 2012, including four performances supporting The Stone Roses in their comeback tour in 2012
32.
Six Feet Under (band)
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Six Feet Under is an American death metal band from Tampa, Florida, formed in 1993. The band consists of five members, founding vocalist Chris Barnes, guitarists Ray Suhy and Jack Owen, bassist Jeff Hughell and it was originally a side project formed by Barnes with guitarist Allen West of Obituary. They have released albums, and are listed by Nielsen Soundscan as the fourth best-selling death metal act in the U. S. with album sales over 370,000. After Barnes and West joined forces, they recruited Terry Butler, who knew West from his involvement with Massacre, Six Feet Under first played in 1993 at clubs, performing mostly cover songs. The band began writing material in the middle of 1994. Because Barnes was already signed to Metal Blade Records with Cannibal Corpse and their first album, Haunted, was released on September 1,1995. Haunted was produced by Brian Slagel and Scott Burns, by this point Chris Barnes had made Six Feet Under his main priority. In 1996, in the process of recording the album Vile, Six Feet Unders next release was the Alive and Dead EP on October 29,1996. A dual studio/live EP, it contains three studio recordings and four tracks from Haunted performed live, the band released their second studio album, Warpath, on September 9,1997. In 1998, Allen West left to rejoin Obituary and was replaced by Steve Swanson and this is the only line-up change that the band had until January 2011. Combined with Barnes departure from Cannibal Corpse, the arrival of Swanson helped turn Six Feet Under from a mere side-project to a band in its own right, july 13,1999, saw the release of Six Feet Unders third studio album, Maximum Violence. As the name of the album suggests, the lyrics on this release are much more violent than on past releases, the band also recorded a death-metal retooling of the Kiss song War Machine. Maximum Violence had sold over 100,000 copies worldwide, a status that hadnt been reached for a while for a metal band during the late 90s when death metal saw a decline in popularity. It led to some unexpected events for the band. During the summer of 2000, Six Feet Under participated in the Vans Warped Tour, further pursuing their interest in cover songs, Six Feet Under released an album entirely of covers, Graveyard Classics, on October 24,2000. The songs were given death metal makeovers in regards to the timbre of the vocals and instruments, songs include Black Sabbaths Sweet Leaf, Deep Purples Smoke on the Water, and Jimi Hendrixs Purple Haze. The songwriting on True Carnage is more groove-oriented than past songs, the tracks are still crashing and mostly slow-paced, but have less static. The musicianship was also improved, and the production is complementary to the brutality, True Carnage peaked on the Billboard Heatseekers charts at number 18
33.
The Trashmen
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The Trashmen were a rock band formed in Minneapolis, Minnesota, in 1962. The groups original lineup was Tony Andreason on lead guitar and vocals, Dal Winslow on guitar and vocals, Steve Wahrer on drums and vocals, the group played surf rock which included elements from garage rock. They have been described as being, along with Colorado-based band the Astronauts, the Trashmens biggest hit was 1963s Surfin Bird, which reached No.4 on the Billboard Hot 100 in the latter part of that year. The song was a combination of two R&B hits by the Rivingtons, The Birds the Word and Papa-Oom-Mow-Mow, early pressings of the single credit the Trashmen as composers, but following a threat from the Rivingtons legal counsel, that group was subsequently credited as composers. The early single was credited solely to the drummer, Steve Wahrer, the song was later re-recorded by artists including the Ramones, the Cramps, Silverchair, the Psychotic Petunias, Pee-Wee Herman, Equipe 84, and the thrash metal band Sodom. The track debuted in the UK Top Ten for the first time on December 19, the Trashmen went on to have other hit singles. In 1964, Bird Dance Beat reached No.30 on the Billboard Hot 100 in the United States and was a top 10 hit in Canada, the group released a total of fourteen singles. A four-CD box set of their work was released by Sundazed Records, the group disbanded in 1967 but reunited in the 1980s, playing together until the death of Steve Wahrer, of cancer, in 1989. Tony Andreasons brother Mark replaced Wahrer as drummer, reeds son Robin joined as a touring member in 2009 on drums, filling in for Mark Andreason. In 1999, the Trashmen played at the Las Vegas Grind and have played gigs, including Chicago, Spain, Chicago, Wisconsin. They toured Europe 2008 with gigs in Germany, the Netherlands, France, Spain, Belgium, Italy, following up again in 2010, they added Norway, Sweden and Finland to the mix. The band went back into retirement in 2016, vH1. com, The Trashmen History of Rock – The Trashmen Birdland Revisited,35 years ago teen rock like the Trashmens Surfin Bird caught a wave across the prairies – and rode it into adulthood
34.
Intruder (American band)
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Intruder is an American thrash metal band from Nashville, Tennessee. Formerly known as Transgresser, the group began as a cover band. They saw the addition of rhythm guitarist Greg Messick after signing with Metal Blade, Intruder released 3 full-length albums and 1 EP from 1987-1991 before finally splitting up in 1992. Since then, the band has reunited several times to live shows. The band was formed in 1984 under the name Transgresser. They released demos in 1984 and 1986, after going through several name changes they became known as Intruder. They released their debut album Live To Die in 1987 as a band in the speed metal vein. The band signed with Metal Blade Records in 1989, the Metal Blade years saw the entry of rhythm guitarist Greg Messick. Intruder released their album, A Higher Form Of Killing. It presented a move away from Speed Metal to the Thrash Metal scene, Intruder released the very rare Escape From Pain EP in 1990. Admittedly released as an excuse to tour, it featured songs recorded on previous releases as well as a cover of 25 or 6 to 4 by Chicago and it featured just one new song, the title track. Escape From Pain was the one of their Metal Blade releases not to be issued on all three formats of cd, cassette and vinyl. In 1991 Intruder released their final album, Psycho Savant. It was their only Metal Blade release to all original songs. After 5 years of releases and touring, the disbanded in 1992. In a 2006 interview, Guitarist Greg Messick claimed that the tried to stay together after being dropped from Metal Blade. Vocalist Jimmy Hamilton responded to the question of the split up in the same interview. Besides, although we had been together for so long, just like many marriage relationships there was no more love, Intruder did an impressive amount of touring during their short career
35.
Per Gessle
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Per Håkan Gessle is a Swedish pop singer-songwriter, guitarist, and harmonicist. He is the singer of the Swedish pop group Gyllene Tider. With Fredrikssons illness in 2002, he went back to recording albums, reformed Gyllene Tider in 2004 and became a successful artist in his native Sweden. Per Gessle was a member of Gyllene Tider, in 1976. They quickly became a group in Sweden, but after their fourth album, The Heartland Café, sold poorly compared to their previous albums. We decided to put Gyllene Tider to rest, in 1982, Gessle released his first solo album, Per Gessle and after Gyllene Tider split-up his second album, Scener, quickly appeared in 1985. Gessle and Marie Fredriksson had been friends for a few years before came together as Roxette in 1986. After the success of their first hit Neverending Love, which was written by Gessle, Roxette went on to achieve four U. S. #1s and two #2s, with their albums Look Sharp. and Joyride attaining platinum status in a number of countries. After Roxettes early nineties success, Per released a compilation album in 1992, På väg. Bang. and subsequent world tour, Roxette took a break, in 1996, after a reunion and subsequent tour of Gyllene Tider, Gessle recorded his first English solo album, using Brainpool and Gyllene Tider as backing musicians. Christoffer Lundquist from Brainpool would also come to collaborate with Per on later releases, the World According to Gessle, released in 1997, produced three singles, Do You Wanna Be My Baby. Kix and I Want You to Know, the videos to all three songs were directed by Jonas Åkerlund. The World According to Gessle was re-released in 2008, with bonus material. In 1997 Hjärtats trakt – en samling was released as a best-of album, after Roxette released Have a Nice Day and Room Service to moderate success, Per continued with his solo work. The subsequent album Mazarin, was successful in Sweden, going five times platinum in 2004. His first album involving singer Helena Josefsson brought Gessle numerous awards, four Grammis awards, Best Artist, Best Male Pop Performer, Best Composer and Best Song. He also won three Rockbjörnen awards, Best Swedish Male Artist, Best Swedish Album and Best Swedish Song —, the song Här kommer alla känslorna, is Gessles most successful release in Sweden, spending two months at No. Also in 2004, saw Gessle and Gyllene Tider reunited for a 25th-anniversary celebration that included the bands first album in 20 years, Finn 5 fel. and another very successful tour in Sweden
36.
Fang (band)
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Fang is an American hardcore punk band, formed in Berkeley, California in 1980. The group was part of the punk rock scene in Berkeley. Fang initially broke up in 1989 when vocalist Sam McBride was sent to prison for killing his girlfriend, upon his release, in 1995, McBride changed his name to Sammytown and reformed Fang. The bands first record under the name Fang was a record, according to the band. Fang guitarist Tom Flynn and bass player Brian Beattie, his bandmate from the bands Tapeworm and Safety Patrol, put out Yukon Fang as a duo. The original incarnation of Fang toured the country once, only to break up shortly thereafter with Beattie moving on to Texas where he formed the band Glass Eye. In the early fall of 1981, Flynn began playing with drummer Chris Ritter and they soon added bass player Chris Wilson and began playing shows in the Bay Area as a three piece, with Flynn on vocals. While this was happening, Sam McBride, the bands soon-to-be vocalist, was singing with future Fang drummer Greg Langston in the band Shut Up. In early 1982, Ritter was replaced with drummer Joel Fox, and at Foxs audition he brought along his friend McBride, the line-up solidified as McBride, Chris Wilson, Tom Flynn, and Joel Fox. Together they contributed the song Fun with Acid to the Not So Quiet on the Western Front compilation album, shortly thereafter, guitarist Tom Flynn founded the label Boner Records and released Fangs debut album Landshark and their EP Where the Wild Things Are. Tim Stiletto drummed on the latter and these two releases are now considered classic East Bay punk. The original line-up of Fang dissolved in 1985 after the departure of founder Tom Flynn, Sammytown carried on the band, recruiting a new line-up of Bill Collins, Joe Miller, and Steve Chinn. Flynn and Boner Records remained affiliated with the band, putting out the first tracks by the new line-up on a Boner Records compilation, Then Boners Be Poppin in 1985. In January 1986, the Spun Helga LP was recorded in West Germany with McBride singing vocals and we Bite Records released the LP in Germany, and in the US it was handled by National Trust Records. Fang next release was 1987s A Mi Ga Sfafas, in 1988/89, drummer Mike Branum replaced Chinn. Fang then recorded the album Pissed Off Buddah, which remained unreleased until 2008, by 1989, the band had entered a decline, and had become inactive with Sammytowns crippling heroin addiction. Turning his efforts towards drug dealing for income, Sam McBride eventually strangled his girlfriend, Dixie Lee Carney, to death, McBride claims he was aided by informants in the punk rock community and thus was able to stay ahead of the police. McBride also alleges that his bandmates, Collins, Miller
