Bob Spencer is a guitarist, in two significant Australian rock bands in the 1970s and 1980s, Skyhooks and The Angels. Spencer grew up in Sydney's south-eastern suburbs and attended Our Lady of Annunciation Primary School, at Pagewood, New South Wales from 1963 to 1965 and Marist Brothers, at Daceyville from 1966 to 1969, he performed for an hour at his primary school graduation concert in 1969. In 1970 he started high school at Marist Brothers Pagewood and was a founding member of the rock band Finch in 1973 while attending Marist Brothers College, he did his HSC in 1975. He in 1986 joined The Angels, he remained with the band until 1992. Other bands in which he played include Mystery Band, Fandango and Young Lions Black Cat Moan, the Puppy Bashers, the Temple Gods and the Choirboys, he lives in Melbourne where he is active in his band Raw Brit playing covers from the 1960s and 1970s made famous by English rock bands such as Cream, Deep Purple and Slade. He is a coach for professional bands as well as helping more mature amateurs as part of the Weekend Warriors programme.
In August 2013, Spencer revealed on his Facebook page that he had been diagnosed with cancer, but confirmed that it was not life-threatening. Bob Spencer has been a member of the iconic Australian band, Rose Tattoo since 2017
Bernard Patrick "Doc" Neeson OAM was an Australian singer-songwriter and musician. He was the front man for the hard rock band The Angels from its formation in February 1976 to their disbandment in December 1999. For the group Neeson was the main lyricist with brothers and Rick Brewster, as the music composers, their top 20 studio albums on the Australian Kent Music Report Albums Chart are Face to Face, No Exit, Dark Room, Night Attack, Watch the Red, Two Minute Warning and Howling. Their number-one album, Beyond Salvation, on the ARIA Albums Chart appeared in February 1990 and was followed by another top 20 album, Red Back Fever; the group's top 20 singles on the related Australian charts are "No Secrets", "Into the Heat", "Never so Live", "We Gotta Get out of This Place", "Am I Ever Gonna See Your Face Again", "Let the Night Roll On" and "Dogs Are Talking". On 20 October 1998, at the ARIA Awards the group were inducted into the Hall of Fame. In early December 1999, three weeks prior to his performance at the Tour of Duty - Concert for the Troops in East Timor, Neeson had a car accident on the Sydney M4 motorway.
On 10 January 2013, Neeson's Facebook page announced that he had been diagnosed with a brain tumour and would undergo immediate treatment. He died of the tumour on 4 June 2014, aged 67. Bernard Patrick Neeson was born on 4 January 1947 in Northern Ireland, his father, Bernard James Neeson, was a British Army soldier, his mother was Kathleen née Corrigan. Neeson was the eldest of six children, they were raised as Catholics although the family lived in a predominantly Protestant area of Belfast. He attended boarding school at Terenure College in Dublin; the family emigrated to Adelaide aboard SS Strathnaver. They settled in the suburb of Elizabeth and he attended St Paul's College; as a teenager he had promoted dances and in mid-1967 he advised an Adelaide group, Down the Line: "Y'know, you should change the name to something short and punchy like Zoot". After completing secondary education, Neeson entered an Adelaide teachers college, "my first career option was to become a teacher never thought of having a career as a musician".
Before completing his course Neeson was conscripted for national service into the Australian army during the Vietnam War. He served as an education corps sergeant in New Guinea for eighteen months in the late 1960s, he subsequently attended Flinders University, completed degrees in film and drama, intended to become a film director. While a student at Flinders University, Neeson as'Doc Talbot' became a member of an acoustic blues group, Moonshine Jug and String Band, on vocals and guitar; that group had started in Adelaide in 1970 with brothers, Rick Brewster on guitar, washboard and backing vocals. Neeson had been a member of The Innocents and when he joined the Brewsters they had Craig Holden on guitar, Bob Petchell on banjo, Pete Thorpe on bass guitar and backing vocals. Moonshine Jug and String Band recorded a four-track extended play, Keep You on the Move, in 1973, which had local success on the Adelaide charts, rising to No. 5. They followed in the next year, their material appeared on the Sphere Organization label, owned by the group's manager, John Woodruff.
Another four-track EP, Moonshine Jug and String Band, appeared in 1974. By 1974 the group had discarded their acoustic blues sound and instrumentation to become The Keystone Angels playing electric instruments for 1950s style rock and roll, R&B on the pub circuit; the line-up with Doc Neeson on guitar and vocals were: John Brewster on lead vocals and guitar. During that year they backed Chuck Berry, on his Australian tour. In late January 1975 the group performed at the final Sunbury Pop Festival, where they received a standing ovation. During that year they issued a lone single, "Keep on Dancing", on Sphere, which had Neeson on guitar while John provided lead vocals; the Keystone Angels supported AC/DC on a regional tour of South Australia and were signed to the group's label, Albert Productions. In February 1976 The Keystone Angels relocated to Sydney, they had "toughened sound into a unique brand of beefy hard rock". Upon the advice of in-house producers, Vanda & Young, they shortened their name to The Angels.
The line-up, with Neeson as lead singer, bass guitarist and front man, was the Brewster brothers and King. Their debut single, "Am I Ever Gonna See Your Face Again", was issued in March 1976 on EMI/Albert; the track was composed by Neeson with the Brewsters, Neeson described writing the lyrics, which had started as a "ballad about connecting with loss" after a university mate's girlfriend had been killed in a motorbike accident. In 1978 an audience in Mt Isa responded to the question posed in the song's title with "no way, get fucked, fuck off". Neeson described how this response was copied at other venues and became an important part of their performances: "...when the band first started, we were trying to write songs for Australian audiences. In August King was replaced by Graham "Buzz" Bidstrup on drums; the group's choice for lead vocals was either Neeson's "gruff shout" or John Brewster's "clear tones". Neeson recalled "Our drummer, Buzz Bidstrup, said
Talk the Talk
Talk the Talk is the thirteenth studio album by Australian hard rock band, The Angels, released on 17 January 2014. It is the second album to have Dave Gleeson, on vocals; the album peaked at number 46 on the ARIA Albums Chart. "Talk the Talk" 4:59 "Got an Itch" 3:22 "Every Man" 5:35 "Broken Windows" 3:52 "Heart of Stone" 3:42 "Got a Feeling" 4:09 "Nations Are Falling" 4:18 "You Might Make It" 3:11 "Book of Law" 3:32 "I Come in Peace" 4:12 "Personal Thing" 4:39 "No Rhyme nor Reason" 4:18 Dave Gleeson – lead vocals Rick Brewster – lead guitar, vocals John Brewster – rhythm guitar, vocals Nick Norton – drums, vocals Sam Brewster – bassProduction Rick Brewster – producer The Angels – Talk The Talk New Album Gets A Title New Single The Angels – Talk The Talk @ Itunes The Angels – Talk The Talk @Spotify
Singing is the act of producing musical sounds with the voice and augments regular speech by the use of sustained tonality, a variety of vocal techniques. A person who sings is called a vocalist. Singers perform music that can be sung without accompaniment by musical instruments. Singing is done in an ensemble of musicians, such as a choir of singers or a band of instrumentalists. Singers may perform as soloists or accompanied by anything from a single instrument up to a symphony orchestra or big band. Different singing styles include art music such as opera and Chinese opera, Indian music and religious music styles such as gospel, traditional music styles, world music, blues and popular music styles such as pop, electronic dance music and filmi. Singing arranged or improvised, it may be done as a form of religious devotion, as a hobby, as a source of pleasure, comfort or ritual, as part of music education or as a profession. Excellence in singing requires time, dedication and regular practice.
If practice is done on a regular basis the sounds can become more clear and strong. Professional singers build their careers around one specific musical genre, such as classical or rock, although there are singers with crossover success, they take voice training provided by voice teachers or vocal coaches throughout their careers. In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply or bellows. Though these four mechanisms function independently, they are coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by lower pelvis/pelvic muscles. Inhalation is aided by use of external intercostals and sternocleidomastoid muscles; the pitch is altered with the vocal cords. With the lips closed, this is called humming; the sound of each individual's singing voice is unique not only because of the actual shape and size of an individual's vocal cords but due to the size and shape of the rest of that person's body.
Humans have vocal folds which can loosen, tighten, or change their thickness, over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, timbre, or tone of the sound produced. Sound resonates within different parts of the body and an individual's size and bone structure can affect the sound produced by an individual. Singers can learn to project sound in certain ways so that it resonates better within their vocal tract; this is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds; these different kinds of laryngeal function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singer's Formant, it has been shown that a more powerful voice may be achieved with a fatter and fluid-like vocal fold mucosa.
The more pliable the mucosa, the more efficient the transfer of energy from the airflow to the vocal folds. Vocal registration refers to the system of vocal registers within the voice. A register in the voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, possessing the same quality. Registers originate in laryngeal function, they occur. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds; the occurrence of registers has been attributed to effects of the acoustic interaction between the vocal fold oscillation and the vocal tract. The term "register" can be somewhat confusing; the term register can be used to refer to any of the following: A particular part of the vocal range such as the upper, middle, or lower registers. A resonance area such as chest voice or head voice. A phonatory process A certain vocal timbre or vocal "color" A region of the voice, defined or delimited by vocal breaks.
In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology, the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, the whistle register; this view is adopted by many vocal pedagogues. Vocal resonation is the process by which the basic product of phonation is en
A drum kit — called a drum set, trap set, or drums — is a collection of drums and other percussion instruments cymbals, which are set up on stands to be played by a single player, with drumsticks held in both hands, the feet operating pedals that control the hi-hat cymbal and the beater for the bass drum. A drum kit consists of a mix of drums and idiophones – most cymbals, but can include the woodblock and cowbell. In the 2000s, some kits include electronic instruments. Both hybrid and electronic kits are used. A standard modern kit, as used in popular music and taught in music schools, contains: A snare drum, mounted on a stand, placed between the player's knees and played with drum sticks A bass drum, played by a pedal operated by the right foot, which moves a felt-covered beater One or more toms, played with sticks or brushes A hi-hat, played with the sticks and closed with left foot pedal One or more cymbals, mounted on stands, played with the sticksAll of these are classified as non-pitched percussion, allowing the music to be scored using percussion notation, for which a loose semi-standardized form exists for both the drum kit and electronic drums.
The drum kit is played while seated on a stool known as a throne. While many instruments like the guitar or piano are capable of performing melodies and chords, most drum kits are unable to achieve this as they produce sounds of indeterminate pitch; the drum kit is a part of the standard rhythm section, used in many types of popular and traditional music styles, ranging from rock and pop to blues and jazz. Other standard instruments used in the rhythm section include the piano, electric guitar, electric bass, keyboards. Many drummers extend their kits from this basic configuration, adding more drums, more cymbals, many other instruments including pitched percussion. In some styles of music, particular extensions are normal. For example, some rock and heavy metal drummers make use of double bass drums, which can be achieved with either a second bass drum or a remote double foot pedal; some progressive drummers may include orchestral percussion such as gongs and tubular bells in their rig. Some performers, such as some rockabilly drummers, play small kits that omit elements from the basic setup.
Before the development of the drum set and cymbals used in military and orchestral music settings were played separately by different percussionists. In the 1840s, percussionists began to experiment with foot pedals as a way to enable them to play more than one instrument, but these devices would not be mass-produced for another 75 years. By the 1860s, percussionists started combining multiple drums into a set; the bass drum, snare drum and other percussion instruments were all struck with hand-held drum sticks. Drummers in musical theater shows and stage shows, where the budget for pit orchestras was limited, contributed to the creation of the drum set by developing techniques and devices that would enable them to cover the roles of multiple percussionists. Double-drumming was developed to enable one person to play the bass and snare with sticks, while the cymbals could be played by tapping the foot on a "low-boy". With this approach, the bass drum was played on beats one and three. While the music was first designed to accompany marching soldiers, this simple and straightforward drumming approach led to the birth of ragtime music when the simplistic marching beats became more syncopated.
This resulted in dance feel. The drum set was referred to as a "trap set", from the late 1800s to the 1930s, drummers were referred to as "trap drummers". By the 1870s, drummers were using an "overhang pedal". Most drummers in the 1870s preferred to do double drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems such as Dee Dee Chandler of New Orleans 1904–05. Liberating the hands for the first time, this evolution saw the bass drum played with the foot of a standing percussionist; the bass drum became the central piece around which every other percussion instrument would revolve. William F. Ludwig, Sr. and his brother, Theobald Ludwig, founded the Ludwig & Ludwig Co. in 1909 and patented the first commercially successful bass drum pedal system, paving the way for the modern drum kit. Wire brushes for use with drums and cymbals were introduced in 1912; the need for brushes arose due to the problem of the drum sound overshadowing the other instruments on stage.
Drummers began using metal fly swatters to reduce the volume on stage next to the other acoustic instruments. Drummers could still play the rudimentary snare figures and grooves with brushes that they would play with drumsticks. By World War I, drum kits were marching band-style military bass drums with many percussion items suspended on and around them. Drum kits became a central part of jazz Dixieland; the modern drum kit was developed in the vaudeville era during the 1920s in New Orleans. In 1917, a New Orleans band called "The Original Dixieland Jazz Band " recorded jazz tunes that became hits all o
The guitar is a fretted musical instrument that has six strings. It is played with both hands by strumming or plucking the strings with either a guitar pick or the finger/fingernails of one hand, while fretting with the fingers of the other hand; the sound of the vibrating strings is projected either acoustically, by means of the hollow chamber of the guitar, or through an electrical amplifier and a speaker. The guitar is a type of chordophone, traditionally constructed from wood and strung with either gut, nylon or steel strings and distinguished from other chordophones by its construction and tuning; the modern guitar was preceded by the gittern, the vihuela, the four-course Renaissance guitar, the five-course baroque guitar, all of which contributed to the development of the modern six-string instrument. There are three main types of modern acoustic guitar: the classical guitar, the steel-string acoustic guitar, the archtop guitar, sometimes called a "jazz guitar"; the tone of an acoustic guitar is produced by the strings' vibration, amplified by the hollow body of the guitar, which acts as a resonating chamber.
The classical guitar is played as a solo instrument using a comprehensive finger-picking technique where each string is plucked individually by the player's fingers, as opposed to being strummed. The term "finger-picking" can refer to a specific tradition of folk, blues and country guitar playing in the United States; the acoustic bass guitar is a low-pitched instrument, one octave below a regular guitar. Electric guitars, introduced in the 1930s, use an amplifier and a loudspeaker that both makes the sound of the instrument loud enough for the performers and audience to hear, given that it produces an electric signal when played, that can electronically manipulate and shape the tone using an equalizer and a huge variety of electronic effects units, the most used ones being distortion and reverb. Early amplified guitars employed a hollow body, but solid wood guitars began to dominate during the 1960s and 1970s, as they are less prone to unwanted acoustic feedback "howls"; as with acoustic guitars, there are a number of types of electric guitars, including hollowbody guitars, archtop guitars and solid-body guitars, which are used in rock music.
The loud, amplified sound and sonic power of the electric guitar played through a guitar amp has played a key role in the development of blues and rock music, both as an accompaniment instrument and performing guitar solos, in many rock subgenres, notably heavy metal music and punk rock. The electric guitar has had a major influence on popular culture; the guitar is used in a wide variety of musical genres worldwide. It is recognized as a primary instrument in genres such as blues, country, folk, jota, metal, reggae, rock and many forms of pop. Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, a flat back, most with incurved sides." The term is used to refer to a number of chordophones that were developed and used across Europe, beginning in the 12th century and in the Americas. A 3,300-year-old stone carving of a Hittite bard playing a stringed instrument is the oldest iconographic representation of a chordophone and clay plaques from Babylonia show people playing an instrument that has a strong resemblance to the guitar, indicating a possible Babylonian origin for the guitar.
The modern word guitar, its antecedents, has been applied to a wide variety of chordophones since classical times and as such causes confusion. The English word guitar, the German Gitarre, the French guitare were all adopted from the Spanish guitarra, which comes from the Andalusian Arabic قيثارة and the Latin cithara, which in turn came from the Ancient Greek κιθάρα. Which comes from the Persian word "sihtar"; this pattern of naming is visible in setar and sitar. The word "tar" at the end of all of these words is a Persian word that means "string". Many influences are cited as antecedents to the modern guitar. Although the development of the earliest "guitars" is lost in the history of medieval Spain, two instruments are cited as their most influential predecessors, the European lute and its cousin, the four-string oud. At least two instruments called "guitars" were in use in Spain by 1200: the guitarra latina and the so-called guitarra morisca; the guitarra morisca had a rounded back, wide fingerboard, several sound holes.
The guitarra Latina had a narrower neck. By the 14th century the qualifiers "moresca" or "morisca" and "latina" had been dropped, these two cordophones were referred to as guitars; the Spanish vihuela, called in Italian the "viola da mano", a guitar-like instrument of the 15th and 16th centuries, is considered to have been the single most important influence in the development of the baroque guitar. It had six courses, lute-like tuning in fourths and a guitar-like body, although early representations reveal an instrument with a cut waist, it was larger than the contemporary four-course guitars. By the 16th century, the vihuela's construction had more in common with the modern guitar, with its curved one-piece ribs, than with the viols, more like a larger version of the contemporary four-course guita
Am I Ever Gonna See Your Face Again
"Am I Ever Gonna See Your Face Again" is an Australian rock song written by Doc Neeson, John Brewster and Rick Brewster, performed by their group, the Angels. The song was recorded as a ballad in March 1976 but subsequently re-released as a rock song; the song is best known for the expletive-laden audience response, "No Way, Get Fucked, Fuck Off", to the live version, issued in March 1988. This chant has been described by The Guardian's Darryl Mason as "one of the most famous in Australian rock history"; the song reached at number 58 on the ARIA Charts and it stayed in the charts for 19 weeks. The Angels members Chris Bailey – bass guitar Buzz Throckman – drums John Brewster – rhythm guitar, backing vocals Rick Brewster – lead guitar Doc Neeson – lead vocals Neeson said that the song was written as an acoustic ballad about grief and loss; the girlfriend of Neeson's friend was killed in a motorcycle collision, the two friends were discussing life after death. The conversation inspired Neeson to write the lyrics.
References to subjects like Santa Fe and Renoir came from Neeson's own experiences. The Angels voluntarily paid an "out-of-court settlement" to Status Quo of a reported "six figure sum" to avoid any potential problems due to the numerous similarities between "Am I Ever Gonna See Your Face Again" & the Status Quo 1974 single B-side "Lonely Night". Status Quo's lyric of "'Cause I never thought I'd see or hear you again" being similar to the re-written Angels lyric. Therefore, the stories that Status Quo still get a percentage of royalties is false, it was a one-off payment; the Angels tried three times in the early 1980s to make a hit out of the song. In the mid-1980s an unexpected chant response, "No Way, Get Fucked, Fuck Off" by the audience to the question posed in the title was noticed by the group; the song had become an iconic part of Australian culture, such that the song may be played anywhere at any time in Australia with the chant sung by whatever crowds are present. Although it is the most famous audience chant in Australian rock music history, the exact origins of it are lost.
In 2008 Neeson and the Brewsters tried to discover. The band first heard it in Mount Isa, Queensland in 1983, were shocked they were being told to "Fuck off!". Neeson asked one of the crowd who said that it originated at a police sponsored [Blue Light disco. Live performances of the song and recordings played at discotheques or nightclubs customarily provoke an audience response of "no way, get fucked, fuck off" to the question posed in the song title. Neeson recalled that he first heard the response at Mount Isa in 1983. Thinking it was a criticism of the band, he asked audience members about it, they responded that the chant had its origins at a disco in Sydney where the DJ would turn down the volume to encourage the audience response. In May 2014 Rick Brewster opined, "I don't think it will be solved because too many people put their hand up and said'I started it' and we don't believe any of it. We just think it's funny, it's the bush telegraph really; the whole country was doing it and we found when we went overseas the people in America were doing it too."Neeson noted that "it's become the audience's song, it doesn't belong to the band anymore".
The audience response made for an "awkward moment" for Peter Cosgrove at an INTERFET concert in the company of Jose Ramos Horta and Bishop Belo