Neal Morse is an American singer, multi-instrumentalist and progressive rock composer based in Nashville, Tennessee. In 1992, he formed the progressive rock band Spock's Beard with his brother Alan and released an album, moderately successful. In 1999, he joined former Dream Theater co-founder Mike Portnoy, Flower Kings' Roine Stolt and Marillion's Pete Trewavas to form the super-group Transatlantic. In 2002, Neal Morse became a born again Christian, left Spock's Beard and began a Christian rock solo career, releasing many progressive rock concept albums about his new religious faith. In the meantime, he continued to play with Transatlantic and formed three new bands with Portnoy, Yellow Matter Custard, Flying Colors and The Neal Morse Band. Morse grew up in the San Fernando Valley of Los Angeles as one of four children, his father was a choral director. Morse started to play the piano at the age of five and started to learn to play the guitar at the age of nine. During his twenties he wrote two musicals, did some session jobs, tried to get a deal as a singer/songwriter in Los Angeles, recorded a few country and western demos with his brother Richard.
After about ten years, Morse grew tired of the Los Angeles music scene and traveled through Europe for several years and playing in small clubs. On his return to the U. S. he formed the band Spock's Beard with his brother Alan. Their first album, The Light, was moderately successful. Spock's Beard would soon become one of the most successful progressive rock bands of the late nineties. While with Spock's Beard, Morse released two solo albums of straightforward rock music. In 1999, he joined former Dream Theater co-founder Mike Portnoy, Flower Kings' Roine Stolt and Marillion's Pete Trewavas to form the supergroup Transatlantic; the band has released four studio albums plus live albums from the tours behind each studio disc: Live in America, Live in Europe, Whirld Tour 2010: Live in London, More Never Is Enough, KaLIVEoscope. In concert, the group has included Daniel Gildenlöw of Pain of Salvation, Ted Leonard, Morse's eventual replacement in Spock's Beard. In 2003 Morse, Mike Portnoy, Paul Gilbert and Matt Bissonette formed Yellow Matter Custard as a Beatles tribute supergroup.
They took the name from a lyric in The Beatles song "I Am the Walrus":'Yellow matter custard, dripping from a dead dog's eye...' On March 26, 2012, Morse released the first album of the newly formed band Flying Colors. In 2014, he gave life to another group, The Neal Morse Band, that released its first studio album The Grand Experiment in 2015; the group's second outing, The Similitude of a Dream, was released on November 11, 2016, the sequel to that album, The Great Adventure, was released on January 25, 2019. Morse became a born again Christian in 2002, he left both Spock's Beard and Transatlantic following the release of the Spock's Beard album Snow, since he felt a calling to make his personal faith more prominent in his recorded output and felt that this would not be possible or appropriate in a band context. The period leading to this decision is described on the solo album Testimony, an epic, introspective composition which features Kerry Livgren of Kansas and Mike Portnoy. One part of his conversion to Christianity, omitted from Testimony but described in full on Testimony Live and in the song Jayda on Testimony 2, was that his daughter Jayda had been diagnosed as having a hole in her heart that required open-heart surgery.
However, before Jayda received surgery, the hole disappeared following a church service in which Morse's wife and others prayed for God's healing. In 2004, Morse recorded a new concept album featuring Portnoy and Randy George. Guitar virtuoso Phil Keaggy made a guest appearance on guitar and vocals; the album, titled One, is about man's relationship with God from his Christian perspective and was released on November 2, 2004. In 2005, Morse released two non-prog Christian albums. In January, Morse recorded Lead Me Lord with the Christian Gospel Temple Choir, his children, his friends. Morse wrote about half of the tracks; this is available for a donation. In July, Morse released God Won't Give Up, written around the Snow period; this is a pop album similar to It's Not Too Late, but with Christian lyrics. In the summer of 2005, a member of his church approached Morse to tell him that he should make an album based on the tabernacle and that he should keep it a secret. Morse mentioned that he was working on a secret project before he had written a note or was convinced that he should do the project, mentioning it during a radio interview created enough buzz to convince him to make the album.
There was a contest on his message board to guess the participants and meaning of the album based on a series of clues. The secret project was revealed to be? and is about the tabernacle in the wilderness and the tabernacle of the heart. The studio band is Neal, Mike Portnoy, Randy George with guests Mark Leniger, Alan Morse, Roine Stolt, Steve Hackett, Jordan Rudess. In 2006, Morse issued Cover to Cover, a collection of cover versions by himself, Mike Portnoy, Randy George recorded during the production of?, One and Testimony, proving that despite the new foc
The bodhrán is an Irish frame drum ranging from 25 to 65 cm in diameter, with most drums measuring 35–45 cm. The sides of the drum are 9–20 cm deep. A goatskin head is tacked to one side; the other side is open-ended for one hand to be placed against the inside of the drum head to control the pitch and timbre. One or two crossbars, sometimes removable, may be inside the frame, but this is rare on modern instruments; some professional modern bodhráns integrate mechanical tuning systems similar to those used on drums found in drum kits. It is with a hex key that the bodhrán skins are tightened or loosened depending on the atmospheric conditions. According to musician Ronan Nolan, former editor of Irish Music magazine, the bodhrán evolved in the mid-19th century from the tambourine, which can be heard on some Irish music recordings dating back to the 1920s and viewed in a pre-Famine painting. However, in remote parts of the south-west, the "poor man's tambourine" – made from farm implements and without the cymbals – was in popular use among mummers, or wren boys.
A large oil painting on canvas by Daniel Maclise depicts a large Halloween house party in which a bodhrán features clearly. That painting, produced c. 1842, shows a flautist accompanied by a tambourine player who, in an Arabic style in contrast to standard bodhrán technique, used his fingers rather than a tipper. It is known that by the early 20th century, home-made frame drums were constructed using willow branches as frames, leather as drumheads, pennies as jingles. In photographs from the 1940s and videos from the 1950s, jingles remained part of the bodhrán construction like a tambourine, yet were played with cipín known in English as "tipper". Seán Ó Riada declared the bodhrán to be the native drum of the Celts as did Paraic McNeela used for winnowing or the dying of wool, with a musical history that predated Christianity, native to southwest Ireland; the Irish word bodhrán, indicating a drum, is first mentioned in a translated English document in the 17th century. It appears in Jacob Pool's list of words from the Baronies of Forth and Bargy in county Wexford, meaning "A drum, tambourine...also a sieve used in winnowing corn".
Third-generation bodhrán maker Caramel Tobin suggests that the name bodhrán means "skin tray". He suggests a link with the Irish word bodhar, among other things, a drum or a dull sound. A new introduction to Irish music, the bodhrán has replaced the role of the tambourine; the bodhrán is one of the most basic of drums and as such it is similar to the frame drums distributed across northern Africa from the Middle East, has cognates in instruments used for Arabic music and the musical traditions of the Mediterranean region. A larger form is found in the Iranian daf, played with the fingers in an upright position, without a stick. Traditional skin drums made by some Native Americans are close in design to the bodhrán as well, it has been suggested that the origin of the instrument may be the skin trays used in Ireland for carrying peat. The Cornish frame drum crowdy-crawn, used for harvesting grain, was known as early as 1880. Peter Kennedy observed a similar instrument in Dorset and Wiltshire in the 1950s, where it was known as a "riddle drum", a riddle being a large sieve for separating soil particles from stones etc.
Dorothea Hast has stated that until the mid-twentieth century the bodhrán was used as a tray for separating chaff, in baking, as a food server, for storing food or tools. She argues, she claims that while the earliest evidence of its use beyond ritual occurs in 1842, its use as a general instrument did not become widespread until the 1960s, when Seán Ó Riada used it. There are no known references to this particular name for a drum prior to the 17th century. Although various drums have been used in Ireland since ancient times, the bodhrán itself did not gain wide recognition as a legitimate musical instrument until the Irish traditional music resurgence in the 1960s in which it became known through the music of Seán Ó Riada and others; the second wave roots revival of Irish Traditional music in the 1960s and 1970s brought virtuoso bodhrán playing to the forefront, when it was further popularized by bands such as Ceoltóirí Chualann and The Chieftains. Growing interest led to internationally available LP recordings, at which time the bodhrán became a globally recognized instrument.
In the 1970s, virtuoso players such as The Boys of the Lough's Robin Morton, The Chieftains' Peadar Mercier, Planxty's Christy Moore, De Dannan's Johnny "Ringo" McDonagh further developed playing techniques. Although most common in Ireland, the bodhrán has gained popularity throughout the Celtic music world in Scotland, Cape Breton, North mainland Nova Scotia and Prince Edward Island. In Southern England tambourines were a popular accompaniment to traditional dance music. In the South West of England a similar instrument made from the frame of a garden sieve was once popular and known as a Riddle Drum. In Cornish traditional music they are called a crowdy-crawn; the bodhran has a
Genesis were an English rock band formed at Charterhouse School, Surrey, in 1967. The most successful and longest-lasting line-up consisted of keyboardist Tony Banks, bassist/guitarist Mike Rutherford and drummer/singer Phil Collins. Significant former members were guitarist Steve Hackett; the band moved from folk music to progressive rock in the 1970s, before moving towards pop at the end of the decade. They have sold 21.5 million copies of their albums in the United States, with worldwide sales of between 100 million and 150 million. Formed by five Charterhouse pupils including Banks, Rutherford and Anthony Phillips, Genesis were named by former pupil Jonathan King, who arranged for them to record several unsuccessful singles and their debut album From Genesis to Revelation in 1968. After splitting with King, the group began to tour professionally, signed with Charisma Records and recorded Trespass in the progressive rock style. Following the departure of Phillips, Genesis recruited Collins and Hackett and recorded Nursery Cryme.
Their live shows began to be centred on Gabriel's theatrical costumes and performances. They were first successful in mainland Europe, before entering the UK charts with Foxtrot. In 1973, they released Selling England by the Pound, which featured their first UK top 30 single "I Know What I Like"; the concept album The Lamb Lies Down on Broadway followed in 1974, was promoted with a transatlantic tour featuring an elaborate stage show. Following the Lamb tour, Gabriel left Genesis in August 1975 to begin a solo career. After an unsuccessful search for a replacement, Collins took over as lead singer, while Genesis gained popularity in the UK and the US. Following A Trick of the Tail and Wind & Wuthering, Hackett left, reducing the band to Banks and Collins. Genesis' next album... And Then There Were Three... produced their first UK top ten and US top 30 single in 1978 with "Follow You Follow Me", they continued to gain success with Duke and Genesis, reaching a peak with Invisible Touch, which featured five US top five singles.
Its title track reached number one in the US. After the tour for We Can't Dance, Collins left Genesis in 1996 to focus on his solo career. Banks and Rutherford recruited Ray Wilson for Calling All Stations, but a lack of success in the US led to a group hiatus. Banks and Collins reunited for the Turn It On Again Tour in 2007, with Gabriel and Hackett were interviewed for the 2014 BBC documentary Genesis: Together and Apart, their discography includes six live albums, six of which topped the UK chart. They have won numerous awards and nominations, including a Grammy Award for Best Concept Music Video with "Land of Confusion", inspired a number of tribute bands recreating Genesis shows from various stages of the band's career. In 2010, Genesis were inducted into the Roll Hall of Fame; the founding members of Genesis, singer Peter Gabriel, keyboardist Tony Banks, guitarist Anthony Phillips and guitarist Mike Rutherford, drummer Chris Stewart, met at Charterhouse School, a private school in Godalming, Surrey.
Banks and Gabriel arrived at the school in September 1963, Rutherford in September 1964, Phillips in April 1965. The five were members in one of the school's two bands. In January 1967, after both groups had split and Rutherford continued to write together and proceeded to make a demo tape at a friend's home-made studio, inviting Banks and Stewart to record with them in the process; the five recorded six songs: "Don't Want You Back", "Try a Little Sadness", "She's Beautiful", "That's Me", "Listen on Five", "Patricia", an instrumental. When they wished to have them professionally recorded they sought Charterhouse alumnus Jonathan King, who seemed a natural choice as their publisher and producer following the success of his 1965 UK top five single, "Everyone's Gone to the Moon". A group friend gave the tape to King, enthusiastic. Under King's direction, the group, aged between 15 and 17, signed a one-year recording contract with Decca Records. From August to December 1967, the five recorded a selection of potential singles at Regent Sound Studios on Denmark Street, where they attempted longer and more complex compositions, but King advised them to stick to more straightforward pop.
In response Banks and Gabriel wrote "The Silent Sun", a pastiche of the Bee Gees, one of King's favourite bands, recorded with orchestral arrangements added by Arthur Greenslade. The group exchanged various names for the band, including King's suggestion of Gabriel's Angels and Champagne Meadow from Phillips, before taking King's suggestion of Genesis, indicating the start of his production career. King chose "The Silent Sun" as their first single, with "That's Me" on the B-side, released in February 1968, it achieved some airplay on BBC Radio One and Radio Caroline but it failed to sell. A second single, "A Winter's Tale" / "One-Eyed Hound", followed in May 1968 which sold little. Three months Stewart left the group to continue with his studies, he was replaced by fellow Charterhouse pupil John Silver. King felt; the result, From Genesis to Revelation, was produced at Regent Sound in ten days during their school's summer break in August 1968. King assembled the tracks as a concept album which he produced, while Greenslade added further orchestral arrangements to the songs, something the band were not informed of until
Marillion are a British rock band, formed in Aylesbury, Buckinghamshire, in 1979. They emerged from the post-punk music scene in Britain and existed as a bridge between the styles of punk rock and classic progressive rock, becoming the most commercially successful neo-progressive rock band of the 1980s. Marillion's recorded studio output since 1982 is composed of eighteen albums regarded in two distinct eras, delineated by the departure of original lead singer Fish in late 1988 and the subsequent arrival of replacement Steve Hogarth in early 1989; the band achieved eight Top Ten UK albums between 1983 and 1994, including a number one album in 1985 with Misplaced Childhood, during the period the band were fronted by Fish they had eleven Top 40 hits on the UK Singles Chart. They are best known for the 1985 singles "Kayleigh" and "Lavender", which reached number two and number five with "Kayleigh" entering the Billboard Hot 100 in the United States. Marillion's first album released with Hogarth, 1989's Seasons End, was another Top Ten hit, albums continued to chart well until their departure from EMI Records following the release of their 1996 live album Made Again and the dissipation of the band's mainstream popularity in the late 1990s.
Marillion have achieved a further twelve Top 40 hit singles in the UK with Hogarth, including 2004's "You're Gone", which charted at No. 7 and is the biggest hit of his tenure. The band continue to tour internationally, becoming ranked 38th in Classic Rock's "50 Best Live Acts of All Time" in 2008. In 2016, they returned to the UK Albums Chart Top Ten for the first time in 22 years with their highest chart placing since 1987. Despite unpopularity in the mainstream media and a unfashionable status within the British music industry, Marillion have maintained a loyal international fanbase, becoming acknowledged as playing a pioneering role in the development of crowdfunding and fan-funded music, they have sold over 15 million albums worldwide. In 1977, Mick Pointer joined Electric Gypsy, which included Doug Irvine on bass. Pointer and Irvine left to form their own band, after J. R. R. Tolkien's book The Silmarillion, in late 1978, they played one London show as an instrumental band with Martin Jenner.
1979 saw a new line-up of by Steve Rothery, Doug Irvine and Brian Jelliman. They played their first concert at Berkhamsted Civic Centre, Hertfordshire, on 1 March 1980. According to Pointer, it was at this stage. Other sources have that the band name was shortened to Marillion in 1981 to avoid potential copyright conflicts, at the same time as Fish and bassist William'Diz' Minnitt replaced original bassist/vocalist Doug Irvine following an audition at Leyland Farm Studios in Buckinghamshire on 2 January 1981. Rothery, drummer Mick Pointer, keyboardist Brian Jelliman completed this line-up. By the end of 1981, Kelly had replaced Jelliman, with Trewavas replacing Minnitt in 1982. Minnitt formed Pride of Passion and went on to perform with Zealey and Moore. Irvine joined the band Steam Shed; the early works of Marillion contained Fish's poetic and introspective lyrics melded with music to create a sound that reflected the band's influences. Marillion's first recordings were two demos recorded in March and the summer of 1980, prior to Fish and Minnitt joining the band.
Two versions of the Spring demo circulate amongst collectors. The second version has an instrumental version of "Alice" in place of "Scott's Porridge". All tracks are instrumental apart from "Alice", with vocals by Doug Irvine; the summer demo has three tracks. Both were recorded at The Enid's studio in Hertfordshire. Following Irvine's departure and replacement by Fish and Minnitt, the band recorded another demo tape, produced by Les Payne, in July 1981 that included early versions of "He Knows You Know", "Garden Party", "Charting the Single"; the group attracted attention with a three-track session for the Friday Rock Show and were subsequently signed by EMI Records. They released their first single, "Market Square Heroes", in 1982, with the epic song "Grendel" on the B-side of the 12" version. Following the single, the band released their first full-length album in 1983; the music on their debut album, Script for a Jester's Tear, was born out of the intensive performances of the previous years.
Although it had some progressive rock stylings, it had a darker edge, suggested by the bedsit squalor on the album's cover. The album was a commercial success, peaking at number seven on the UK album chart and producing the Top 40 singles "He Knows You Know" and "Garden Party". Although they were accused of being Genesis soundalikes, the album reached the Platinum certification and has been credited with giving a second life to progressive rock. Following the UK tour to promote Script for a Jester's Tear, Mick Pointer was dismissed due to Fish's dissatisfaction with what he described as the drummer's "awful" timing and failure to develop as a musician with the rest of the band. Former Steve Hackett drummer Ian Mosley was secured as Pointer's replacement after a series
The tin whistle called the penny whistle, Irish whistle, Belfast hornpipe, or feadóg stáin, is a simple, six-holed woodwind instrument. It is a type of fipple flute, putting it in the same class as the recorder, Native American flute, other woodwind instruments that meet such criteria. A tin whistle player is called a whistler; the tin whistle is associated with Celtic and Australian folk music. The tin whistle in its modern form is from a wider family of fipple flutes which have been seen in many forms and cultures throughout the world. In Europe such instruments take various forms. All primitive cultures had a type of fipple flute and is most the first pitched flute type instrument in existence. A possible Neanderthal fipple flute from Slovenia, according to some scientists, dates from 81,000-53,000 BC, a German flute from 35,000 years ago, flute made from sheep's bone in West Yorkshire dating to the Iron Age. Written sources that describe a fipple-type flute include Greek aulos. In the early Middle Ages peoples of northern Europe were playing the instrument as seen in 3rd-century British bone flutes, Irish Brehon Law describes flute like instrument.
By the 12th century Italian flutes came in a variety of sizes, fragments of 12th-century Norman bone whistles have been found in Ireland, an intact 14 cm Tusculum clay whistle from the 14th century in Scotland. In the 17th century whistles were called flageolets; the term flageolet is still preferred by some modern tin whistlers who feel this better describes the instrument, as this characterises a wide variety of fipple flutes, including penny whistles. The modern penny whistle is indigenous to the British Isles England, when factory-made "tin whistles" were produced by Robert Clarke from 1840–1889 in Manchester and New Moston, England. Down to 1900, they were marketed as "Clarke London Flageolets" or "Clarke Flageolets"; the whistle's fingering system is similar to that of the six hole, "simple system English flutes". The six hole, diatonic system is used on baroque flutes, was of course well known before Robert Clarke began producing his tin whistles. Clarke's first whistle, the Meg, was pitched in high A and was made in other keys suitable for Victorian parlour music.
The company showed the whistles in The Great Exhibition of 1851. The Clark tin whistle is voiced somewhat on an organ-pipe with a flattened tube forming the lip of the fipple mouthpiece and is made from rolled tin sheet or brass. Manufactured tin whistles became available no earlier than 1840, were mass-produced and widespread due to their relative affordability; as the penny whistle was considered a toy it has been suggested that children or street musicians were paid a penny by those who heard them playing the whistle. However, in reality the instrument was so called; the name "tin-whistle" was coined as early as 1825 but neither the tin whistle nor the penny whistle name seems to have been common until the 20th century. The instrument became popular in several musical traditions namely: English, Scottish and American traditional music. Due to its affordability the tin whistle was a popular household instrument, as ubiquitous as the harmonica. In the second half of the 19th century, some flute manufacturers such as Barnett Samuel and Joseph Wallis sold whistles.
These had a cylindrical brass tube. Like many old whistles, they had lead fipple plugs, since lead is poisonous, caution should be exercised before playing an old whistle; the Generation whistle was introduced in the first half of the 20th century, featured a brass tube with a lead fipple plug. The design was updated somewhat over the years, most notably the substitution of a plastic fipple for the lead plug design. While whistles have most been produced in higher pitches, the "low" whistle is not unknown historically; the Museum of Fine Arts, Boston has in its collection an example of a 19th-century low whistle from the Galpin collection. During the 1960s revival of traditional Irish music the low whistle was "recreated" by Bernard Overton at the request of Finbar Furey; the most common whistles today are made of brass tubing, or nickel plated brass tubing, with a plastic fipple. Generation, Feadóg, Acorn, Soodlum's, other brands fall in this category; the next most common form is the conical sheet metal whistle with a wooden stop in the wide end to form the fipple, the Clarke's brand being the most prevalent.
Other less common variants are the all-metal whistle, the PVC whistle, the Flanna square holed whistle, the wooden whistle. Gaining popularity as a folk instrument in the early 19th century in the Celtic music revivals, penny whistles now play an integral part of several folk traditions. Whistles are a prevalent starting instrument in English traditional music, Scottish traditional music and Irish traditional music, since they are cheap easy to start with, the fingerings are nearly identical to those on the traditional six holed flute; the tin whistle is a good starting instrument to learn the uilleann pipes, which has similar finger technique, range of notes and repertoire. The tin whistle is th
MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus
Richard Christopher Wakeman is an English keyboardist, songwriter and radio presenter, author. He is best known for being in the progressive rock band Yes across five tenures between 1971 and 2004 and for his solo albums released in the 1970s, he is a current member of Trevor Rabin, Rick Wakeman. Born and raised in West London, Wakeman intended to be a concert pianist but quit his studies at the Royal College of Music in 1969 to become a full-time session musician, his early sessions included playing on "Space Oddity", among others, for David Bowie, songs by Junior's Eyes, T. Rex, Elton John, Cat Stevens. Wakeman became a member of Strawbs in 1970 before joining Yes a year playing on some of their most successful albums across two stints until 1980. Wakeman began his solo career in 1973, he formed his rock band, The English Rock Ensemble, in 1974, with which he continues to perform, scored his first film, Lisztomania. Wakeman pursued solo projects in the 1980s, he hosted the television show Gastank, recorded his first of several New-age and Christian music albums with Country Airs and The Gospels, respectively.
From 1988 to 1990 he was a member of Anderson Bruford Wakeman Howe which led to his third Yes stint until 1992. He returned twice more between 1995 and 2004, during which he completed several more solo projects and tours, including his most significant of the decade, Return to the Centre of the Earth. Wakeman continues to perform concerts worldwide in various capacities. Wakeman's discography includes over 90 solo albums, he has made many radio appearances. Wakeman has written three books. In 2017, Wakeman was inducted into the Roll Hall of Fame as a member of Yes. Wakeman was born on 18 May 1949 in the west London suburb of Perivale; the only child of Cyril Frank Wakeman and Mildred Helen Wakeman, the three lived in Wood End Gardens in nearby Northolt. Cyril played the piano in a dance band while he was in the army and worked at a building suppliers, joining as an office boy at fourteen to become one of its directors. Mildred worked at a removals firm. Wakeman attended Drayton Manor Grammar School in Hanwell, in 1959.
The family spent their summer holidays in Exmouth. When Wakeman turned seven, his father paid for weekly piano lessons with Dorothy Symes which lasted for eleven years, she recalled that Wakeman "passed everything with a distinction" and was an "enjoyable pupil to teach, full of fun and with a good sense of humour", but noted his lack of self-discipline when it came to practising. In 1960, Symes entered Wakeman in his first music competition and he went on to win many awards and cups in contests held around London. Wakeman took up the clarinet at age twelve and in his teenage years, attended church and learned the church organ, became a Sunday school teacher, chose to be baptised at eighteen. Wakeman described himself at school as "a horror... I worked hard in the first year eased up". In 1961, during his time at Drayton Manor school, Wakeman played in his first band, the trad jazz outfit Brother Wakeman and the Clergymen, with a uniform of the school shirt put on the wrong way round. In 1963, at fourteen, Wakeman joined the Atlantic Blues, a local blues group that secured a year's residency at a mental health rehabilitation club in Neasden.
Two years Wakeman passed his O Levels in English, maths and music, went on to study music and British constitution at A-level. In 1966, he joined the Concordes known as the Concorde Quartet, playing dance and pop songs at local events with his cousin Alan Wakeman on saxophone and clarinet. Wakeman used the money earned from their gigs to buy his first electronic instrument; that year he formed a dance band called the Green Dolphin Trio, spending a year's residency at a social club in Alperton, Curdled Milk, a joke on "Strange Brew" by Cream, to play at the annual school dance. The band were unpaid after Wakeman lost control of his car and drove across the headmaster's rose garden at the front of the school, thereby forfeiting their performance fee to pay for the damage. In 1967, Wakeman began a tenure with the Ronnie Smith Band, a dance group based at the Top Rank ballroom in Watford, he was sacked in the following year after not taking the dance music enough, but was reinstated and performed in Reading.
It was there where he met their singer Ashley Holt, who sang on many of Wakeman's future albums and tours. In 1968, Wakeman secured a place at the Royal College of Music in London, studying the piano, clarinet and modern music, with the intention of becoming a concert pianist. To enter he needed to pass eight music exams to earn his A-level in the subject, which required him, as his mother remembered, "to do two years' work in ten months". Wakeman put in the effort following a ten shilling bet with his music teacher who believed he would not succeed, refusing his father's offer to work with him. Wakeman joined the Royal College on a performers course before a change to the te