Ricky Fataar is a South African multi-instrumentalist of Cape Malay descent, who has performed as both a drummer and a guitarist. He gained fame as an actor in The Rutles: All You Need Is Cash, a spoof on the actual history of The Beatles in which he performed as a member of The Rutles, he is known for his stint as a member of The Beach Boys between 1971 and 1974. Fataar may be recognized for his contributions as a record producer, has worked on projects scoring music to film and television. Fataar's first childhood band was The Flames, a band from his birthplace of Durban, South Africa that began in 1963, he joined the band at the age of nine. The band made several recordings as well as touring all over Southern Africa and before long they became quite popular in South Africa. By the time he was twelve years old he had won the honour of being voted as the "Best Rock Drummer in South Africa."In 1968 the band moved to London and began touring in the United Kingdom. On one of their tours, they were spotted by a founding member of Carl Wilson.
He was impressed by their talent and offered to sign them to the Beach Boys new record label, Brother Records. The band moved to Los Angeles, United States, they recorded and released their 1970 album The Flame with Carl Wilson producing the album; the Flames disbanded in late 1970, Fataar and his former Flame bandmate Blondie Chaplin were recruited by The Beach Boys, in March 1972. Fataar was asked to play drums for the band after drummer Dennis Wilson suffered a debilitating hand accident; the duo recorded two albums with the Beach Boys, began touring with them in 1971. The 1972 Beach Boys album Carl and the Passions – "So Tough" featured musical and vocal contributions from Chaplin and Fataar, it included two songs written by the duo, "Here She Comes" and "Hold On Dear Brother". On the band's next album, released a year both musicians recorded, provided backing vocals, including the hit single "Sail On, Sailor", on which Chaplin sang as lead vocalist, they additionally collaborated with Carl Wilson and Mike Love on the song "Leaving This Town".
1973 saw the first live album upon which Fataar performed. It featured a live version of the unreleased Chaplin/Fataar/Love collaboration "We Got Love", intended to be released on the Holland album, but was removed from the running order to make way for single "Sail On, Sailor". Both Fataar and Chaplin would depart the band, with Fataar only appearing on the tracks "It's OK" and "That Same Song" off the Beach Boys' next studio album, 1976's 15 Big Ones. Fataar is credited as having played on the 1980 album Keepin' the Summer Alive. In March of 2019, Big Noise's Al Gomes and Connie Watrous presented a plaque from Roger Williams University to Fataar in Providence, RI at a sold-out Bonnie Raitt / James Taylor concert; the plaque commemorates The Beach Boys' September 22, 1971 concert at The Ramada Inn in Portsmouth, RI, now Roger Williams University's Baypoint Inn & Conference Center. The concert was a significant historic event in The Beach Boys' career – it was the first time Fataar played on-stage as a new member of The Beach Boys, which led to Chaplin joining the band, changed The Beach Boys' live and recording act's line-up into a multi-cultural group.
In 1978, Fataar starred in All You Need Is Cash, a mockumentary film known more as The Rutles, a spoof on the real life history of The Beatles, which had a follow up to a Saturday Night Live television sketch. His character was the band's guitarist, he speaks no dialogue in the film, indeed he is sent up as "the quiet one" in it. Fataar's wife, Penelope Tree appeared in All You Need Is Cash, as Stig's wife, Penelope. Fataar is less than quiet on the two albums produced by The Rutles: The Rutles and Archeology which featured him playing guitar, sitar and singing, he would go on to record a single with Eric Idle as'Dirk & Stig' titled, "Mr. Sheene" / "Ging Gang Goolie". Fataar has combined his talents as an actor and a musician, developing musical scores for both film and television. An example includes the composition of the score for an Australian film Spotswood. Working in his capacity as producer, Fataar has produced the music for various films that include High Tide, Les Patterson Saves the World, The Coca-Cola Kid, in which he makes a cameo appearance as an actor as well.
Fataar has worked as a session musician, notably for Ian McLagan as well as other artists, as a drummer. Fataar emigrated to Australia in 1978 where he recorded with and co-produced albums for Tim Finn, played the drums on the Split Enz song "Message To My Girl", worked with Crowded House, Jenny Morris, Peter Blakeley, Wendy Matthews as well as various other artists. In 1979 Fataar was introduced to Bonnie Raitt, recorded on her Green Light album. In 1990, he joined up with Raitt, has been a member of Raitt's band. Fataar continued to work in between other projects as a sideman for many artists on Peter Cetera's first album as a drummer. Ricky Fataar was married to the fashion model Penelope Tree with whom he had one child, Paloma Fataar, he married dancer Valerie Velardi, with whom he had a second daughter, Francesca Fataar
You're Gonna Get Hurt
"You're Gonna Get Hurt" is a song by New Zealand musician, Jenny Morris. It was released in September 1986 the lead single from her debut studio album and Soul. Released at the same time was a 12" extended version featuring "Cool" as the B side, along with the 7" single version. 7" "You're Gonna Get Hurt" – 3:39 "Cool" – 4:10
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
Break in the Weather
"Break in the Weather" is a song by New Zealand musician, Jenny Morris. It was released in September 1991 the lead single from Honeychild; the song became Morris's highest-peaking single in Australia, reaching number two for a week behind "Rush" by Big Audio Dynamite II. In her native New Zealand, the song made it to number five, making it her second-most successful single after "She Has to Be Loved" in 1989. CD Single "Break in the Weather" - 3:36 "Lenny" - 4:38CD Maxi "Break in the Weather" - 4:28 "Lenny" - 4:38 "Break in the Weather" - 5:49 "She Has to Be Loved" - 6:24 Jenny Morris – Break In the Weather on YouTube
Shiver (Jenny Morris album)
Shiver is the second solo studio album by New Zealand singer Jenny Morris, released on 24 July 1989 by Warner Music Group. The album was produced by Andrew Farriss and was critically acclaimed to be Morris's "most successful — and best" album to date. Shiver debuted inside the top twenty on the Australian ARIA Albums Chart and was certified double platinum by ARIA, it yielded five singles: "Saved Me", "She Has to Be Loved", "Aotearoa", "Street of Love" and "Self Deceiver". Shiver was commercially successful in Australia. In early August 1989, it debuted at number fifteen on the Australian ARIA Albums Chart, it stayed there for two consecutive weeks. The album spent a total of forty-one weeks in the top fifty, fifty-seven weeks in the top one-hundred; the Australian Recording Industry Association awarded the album double platinum certification for shipping 140,000 copies and became the thirtiest highest selling album in Australia for 1989. It sold around 250,000 copies in Australia. Jonathan Lewis of AllMusic stated that although Shiver was not a huge leap from her previous album, it showed that she was maturing as a songwriter.
He ends the review stating "The most successful — and best — of Jenny Morris' albums." The album features Morris's cover version of " Street of Love" by Australian musician Paul Kelly
Clear Blue in Stormy Skies
Clear Blue in Stormy Skies is the sixth studio album by New Zealand singer Jenny Morris. It was released 24 June 2006, by Liberation Blue Records, it is a collection of Morris' remodelled radio hits of the 1980s and 1990s, including a retake of "You I Know", rewritten by its original songwriter, Neil Finn, an instrumental arrangement of her most requested song, "Little Little", a cover of INXS' song, "This Time", in tribute to her friend Michael Hutchence. The one new song, "This Time", contains the album's title as a lyric. Clear Blue in Stormy Skies was recorded in February 2006 with members of her backing band, Steve Balbi who co-produced. We used a lot of this old spring reverb, it crapped out a lot and it was frustrating, but man, when it worked it was amazing and I think that's why this album has got that special earthiness about it. "Break in the Weather" "Everywhere I Go" "You I Know" "The Time" "She Has to Be Loved" "This Time" "Street of Love" "Body and Soul" "You're Gonna Get Hurt" "Rhythm & Flow" "Tennessee Waltz" " Little Little" Jenny Morris — vocals, percussion Neil Finn — guitar, backing vocals Steve Balbi — Produced by, double bass, toy drums, backing vocals Paul Searles — piano, organ, hammond organ, Rhodes piano, backing vocals, percussion Josh Quong Tart — backing vocals Nick Hartley - Additional recording and mixing
You I Know
"You I Know" is a song by New Zealand musician Jenny Morris. It was released in July 1987 as the third single from her debut studio album and Soul. CD Single/ 7" "You I Know" – 4:10 "Broke the Leather" – 4:29