Peepshow is the ninth studio album by English alternative rock band Siouxsie and the Banshees, released in September 1988 on Polydor. It was their first record as a quintet. With the arrival of multi-instrumentalist Martin McCarrick and guitarist Jon Klein, the group recorded a multifaceted album with a variety of influences. Including the singles "Peek-a-Boo" and "The Last Beat of My Heart", the record was a commercial success, peaking at No. 68 on the Billboard 200 chart in the week of 3 December 1988. It spent a total of 20 weeks on that chart. Peepshow was acclaimed by critics. Praise centred around the unpredictability of the orchestrations and new nuances in Siouxsie's voice; this album was reissued in a remastered version with bonus tracks in October 2014. A 180g vinyl reissue of the original edition, remastered from the original ¼” tapes and cut half-speed at Abbey Road Studios by Miles Showell, was released in December 2018, it is the subject of the 2018 book Peepshow by part of the 33 1/3 series.
Peepshow received widespread critical acclaim upon its release. Q wrote in its 5-star review: "Peepshow takes place in some distorted fairground of the mind where weird and wonderful shapes loom." Reviewer Mark Cooper hailed "Martin McCarrick's accordion that pokes its way into Peek A Boo a carny piece of musical imagination". He noted that "the rest of the record bursts with similar acts of imagination", saying: "full honours go to the aforementioned McCarrick for all manner of shrewd decorations and drummer Budgie for endlessly inventive rhythm work that manages to pinpoint the tension inherent in each song without lapsing into an obvious beat". Melody Maker praised its first single, "Peek-a-Boo", called it "quite the most astounding British record" of 1988, "a brightly unexpected mixture of black steel and pop disturbance." The paper praised the band for the ballad "The Last Beat of My Heart". Chris Roberts said: "The infinite pinnacle is their one joint effort, the bravura hymn "The Last Beat of My Heart"".
As Martin McCarrick's accordion and Budgie's directly intelligent rhythms underlie its pathos, this elegy is translated by Sioux with capital beatitude. It's the Banshees' most courageous arabesque in some time." Record Mirror particularly enjoyed that song when reviewing the album: "The highlight is the restrained'The Last Beat of My Heart', where Siouxsie's voice explores new ground as she caresses a haunting melody." Reviewer Kevin Murphy concluded by saying: "Brimming with confidence, Peepshow is the Banshees' finest hour." NME noted a change of approach in the musical direction: "Peepshow is the best Banshees record since A Kiss in the Dreamhouse because it's the Banshees deciding to be a pop band rather than a rock group". Spin published a glowing review of the album in their November issue. Discussing "Peek-a-Boo", critic Tony Fletcher said that it's "mood fell in with their beloved London's summer fascination with the sparsity and confusion that call Acid House and how!" He described the music of "Peek-a-Boo" as "a crazed assortment of fairground accordions, abrupt horns, distant to-and-fro vocals-exotic, erotic, a dancefloor winner for sure and all of three minutes short."
Fletcher hailed the other tracks, noting "an lilting reggae feel to the beginning of "Killing Jar", a fragile, waif-like Siouxsie backed only by translucent guitar and a keyboard bass on the brief "Rawhead and Bloodybones", a delightful, majestic ballad the likes of which it had been a safe assumption was beyond their reach on "The Last Beat of My Heart". As Peepshow ends with the drawn-out "Rhapsody", Siouxsie's operatic flings seem to be a celebration of her reawakened capacity to thrill." Fletcher concluded: "She and the band sound as confident and excited as when they started". A retrospective review in The Telegraph praised the end result, saying that "lush, folk-rock orchestration produced perfect pop". Bloc Party praised "Peek-a-Boo", which their singer Kele Okereke described: "It sounded like nothing else on this planet; this is just a pop song, but to me it sounded like the most current but most futuristic bit of guitar-pop music I've heard." DeVotchKa covered "The Last Beat of My Heart" at the suggestion of Arcade Fire singer Win Butler.
The Decemberists listed "The Last Beat of My Heart" as one of their favorite Siouxsie and the Banshees' songs. Peepshow was one of the albums Nic Offer of the band!!!, listened to the most during his formative years. All music composed by Siouxsie and the Banshees. Siouxsie Sioux – vocals Steven Severin – electric bass Budgie – drums and harmonica Martin McCarrick – cello, accordion Jon Klein – guitarAdditional personnelMike Hedges – producer, engineer Album Singles Bennett, Samantha. Siouxsie and the Banshees' Peepshow. Bloomsbury Publishing. ISBN 1501321862
Peter Edward Clarke, known professionally as Budgie, is an English drummer. His first recording was with the Slits in 1979, he became the drummer of the influential band Siouxsie and the Banshees and the drum-and-voice duo the Creatures. Budgie worked with other musicians including Leonard Eto and John Grant. In 2013, Spin rated him at No. 28 in their list of "The 100 Greatest Drummers of Alternative Music", writing: "Post-punk introduced a lot of amazing drummers, but none more influential than Budgie. With the Banshees, Budgie didn't just play rhythms—he played hooks and leads, brilliant parts that set the songs on fire, his tom-tom-intensive approach, enlightened by his awareness of world music". Spin considered his "most booming moment" to be "Into the Light", from 1981's Juju, saying: "Budgie drums up a marvel of kinetic syncopation and invention". Budgie was hailed in 2013 by peer Stewart Copeland of the Police as one of the 16 most interesting drummers. Copeland described Budgie's playing as "very economical and offbeat", adding, "Budgie didn’t play your standard hi-hat–kick–snare.
Ari Up of the Slits praised him as "a sensitive drummer", saying, "He could go from reggae to punk to funk to jazz but still steady." NME named Budgie the best drummer of 1983. He debuted as a drummer with the Spitfire Boys and Big in Japan before playing with the Slits on the 1979 album Cut. Years in 2010, Slits singer Ari Up commented: Budgie could play anything. Sting loved the Slits album Cut and what he said about it was that the drumming, he was fanatic about the drums. A lot of people at the time were raving about the drums, they knew that he had a lot of technique but he had a sensitivity, you know, a variation about him. He could go from reggae to punk to funk to jazz, you know, all over the place, but still steady. In September 1979, he joined the Banshees on their Join Hands tour, he was intended to be a temporary replacement for Kenny Morris, who had left the band two days into a tour, but Budgie remained with the group. He first performed on the album Kaleidoscope, became a permanent member of the band until they split up in 1996.
He released nine studio albums with the Banshees. In 1981, he formed a second group with Siouxsie Sioux, named the Creatures, their music was based more with marimba and vibraphone. The 1981 Wild Things EP and 1983 full-length Feast were their first releases. On subsequent Creatures albums, Budgie played keyboards and harmonica, he co-wrote brass arrangements with Peter Thoms on 1983 single "Right Now" and 1989's Boomerang album. Budgie married Siouxsie in May 1991. Within the Banshees, he wrote the lyrics of several songs, including "She's Cuckoo", "Silver Waterfalls", "Staring Back", "Sick Child", "Hang Me High" and "Return". For the Creatures, he wrote the lyrics for several Boomerang-era songs, including "Willow", "Morriña" and "Pluto Drive". In August 2002, Budgie first collaborated with Japanese taiko player Leonard Eto, recording spontaneous drum-duet improvisations in Tokyo for the fourth Creatures album, Hái!. The drum performances were edited, the rest of the sessions took place in France.
Budgie was the sound engineer of the album, he mixed it near Toulouse before its release in 2003. After recording four studio albums as the Creatures, Budgie's final performance with Siouxsie was filmed in 2004 at the Royal Festival Hall in London for the DVD Dreamshow; this was Budgie's last collaboration with Siouxsie. Outside the Banshees and Creatures, the drummer worked with Indigo Girls in 1992 on Rites of Passage, toured with them in the US at the end of that year. In 1994, Budgie recorded percussion on Hector Zazou's Chansons des mers froides, including a song for Jane Siberry, he played drums for former Velvet Underground member John Cale during his summer 1998 US tour on a double bill with The Creatures. Budgie played one with Cale and one with The Creatures. In 2009, he moved to Berlin; that year, he recorded drums for Jessie Evans' Is It Fire? album. In 2010, he teamed up with two other drummers and Mabi, plus multi-instrumentalist Knox Chandler and guitarist Sugizo, for a programme called "The Butterfly Effect: East-West Percussive Parade."
It was described as a "drumming extravaganza, featuring Western kit, Japanese taiko and African drums, that will launch the musicians into a new sonic galaxy!". The programme's world première took place in Hong Kong in November 2010 as part of the New Vision Arts Festival. "The Butterfly Effect" featured improvised solos and ensemble works as well as new pieces and arrangements specially created for the festival, inspired by the pace and character of Hong Kong. In 2012, he served as the drummer for Efterklang on their worldwide tour, they were accompanied by an orchestra. The premiere at the Opera House in Sydney was praised by Time Out, his last concert with Efterklang took place in Brussels in November. A live album, recorded in Copenhagen, was issued. In 2013, Budgie and Eto performed live material from Hái! in Tokyo, 11 years after conceiving the drum parts in that city. The concert took place at the Studio Coast as part of Juno Reactor's set. In 2015, he played drums on John Grant's third solo album, Grey Tickles, Black Pressure, playing in November with Grant on the accompanying tour, with a stop in London at the Hammersmith Apollo.
Brass is an alloy of copper and zinc, in proportions which can be varied to achieve varying mechanical and electrical properties. It is a substitutional alloy: atoms of the two constituents may replace each other within the same crystal structure. Bronze is an alloy containing copper, but instead of zinc it has tin. Both bronze and brass may include small proportions of a range of other elements including arsenic, phosphorus, aluminium and silicon; the distinction is historical. Modern practice in museums and archaeology avoids both terms for historical objects in favour of the all-embracing "copper alloy". Brass is used for decoration for its bright gold-like appearance, it is used in zippers. Brass is used in situations in which it is important that sparks not be struck, such as in fittings and tools used near flammable or explosive materials. Brass has higher malleability than zinc; the low melting point of brass and its flow characteristics make it a easy material to cast. By varying the proportions of copper and zinc, the properties of the brass can be changed, allowing hard and soft brasses.
The density of brass is 8.4 to 8.73 grams per cubic centimetre. Today 90% of all brass alloys are recycled; because brass is not ferromagnetic, it can be separated from ferrous scrap by passing the scrap near a powerful magnet. Brass scrap is transported to the foundry where it is melted and recast into billets. Billets are extruded into the desired form and size; the general softness of brass means that it can be machined without the use of cutting fluid, though there are exceptions to this. Aluminium makes brass more corrosion-resistant. Aluminium causes a beneficial hard layer of aluminium oxide to be formed on the surface, thin and self-healing. Tin has a similar effect and finds its use in seawater applications. Combinations of iron, aluminium and manganese make brass wear and tear resistant. To enhance the machinability of brass, lead is added in concentrations of around 2%. Since lead has a lower melting point than the other constituents of the brass, it tends to migrate towards the grain boundaries in the form of globules as it cools from casting.
The pattern the globules form on the surface of the brass increases the available lead surface area which in turn affects the degree of leaching. In addition, cutting operations can smear the lead globules over the surface; these effects can lead to significant lead leaching from brasses of comparatively low lead content. In October 1999 the California State Attorney General sued 13 key manufacturers and distributors over lead content. In laboratory tests, state researchers found the average brass key, new or old, exceeded the California Proposition 65 limits by an average factor of 19, assuming handling twice a day. In April 2001 manufacturers agreed to reduce lead content to 1.5%, or face a requirement to warn consumers about lead content. Keys plated with other metals are not affected by the settlement, may continue to use brass alloys with higher percentage of lead content. In California, lead-free materials must be used for "each component that comes into contact with the wetted surface of pipes and pipe fittings, plumbing fittings and fixtures."
On January 1, 2010, the maximum amount of lead in "lead-free brass" in California was reduced from 4% to 0.25% lead. The so-called dezincification resistant brasses, sometimes referred to as CR brasses, are used where there is a large corrosion risk and where normal brasses do not meet the standards. Applications with high water temperatures, chlorides present, or deviating water qualities play a role. DZR-brass is excellent in water boiler systems; this brass alloy must be produced with great care, with special attention placed on a balanced composition and proper production temperatures and parameters to avoid long-term failures. The high malleability and workability good resistance to corrosion, traditionally attributed acoustic properties of brass, have made it the usual metal of choice for construction of musical instruments whose acoustic resonators consist of long narrow tubing folded or coiled for compactness. Collectively known as brass instruments, these include the trombone, trumpet, baritone horn, tenor horn, French horn, many other "horns", many in variously-sized families, such as the saxhorns.
Other wind instruments may be constructed of brass or other metals, indeed most modern student-model flutes and piccolos are made of some variety of brass a cupronickel alloy similar to nickel silver/German silver. Clarinets low clarinets such as the contrabass and subcontrabass, are sometimes made of metal because of limited supplies of the dense, fine-grained tropical hardwoods traditionally preferred for smaller woodwinds. For the same reason, some low clarinets and contrabassoons feature a hybrid construction, with long, straight sections of wood, curved joints, and/or bell of metal; the use of metal avoids the risks of exposing wooden instruments to changes in temperature or humid
Right Now (Herbie Mann song)
"Right Now" is an uptempo 1962 jazz/pop song with music by Herbie Mann and lyrics by Carl Sigman. As a jazz instrumental, it was the title track of a 1962 bossa nova-style album by Mann; that same year, with lyrics by Sigman, the song was popularized by jazz singer Mel Tormé on his album Comin' Home Baby!, was the B-side of the single featuring the title track. It was covered in a variety of pop styles, including recordings by Siouxsie Sioux and her second band the Creatures, who scored a top 15 hit in the UK Singles Chart in 1983, the Pussycat Dolls in 2005. 1962 Herbie Mann — jazz instrumental on the album Right Now 1962 Mel Tormé — jazz vocal version on the album Comin' Home Baby! 1969 Salena Jones — on the album The Moment of Truth 1983 The Creatures — UK single 2005 The Pussycat Dolls — on the album PCD 2008 Leon Jackson — on the album Right Now The Creatures recorded a cover version of "Right Now" in 1983. Co-produced by Mike Hedges, it was released as a single by Polydor Records on July 8, 1983.
Their version, recorded in'60s style with a brass section and timpani peaked at No. 14 in the UK Singles Chart, leading to an appearance on BBC's Top of the Pops. The Creatures' version started with a distinct introduction, with Siouxsie clicking her fingers to mark the tempo, she added the "palala pam pam" that she sings before the arrival of the congas. These special arrangements were not present in the initial version by Mel Tormé. Pussycat Dolls would record another version of "Right Now" with this distinct introduction arranged by Siouxsie and Budgie; the Creatures' single was hailed by contemporary critics. Melody Maker's Paul Colbert said in his review, "The Creatures slipped through an unlocked back window, ransacked the place and left with the best ideas in a fast car. Like all the greatest criminal minds they strike without a warning and only they know the plan. We have to piece the clues into a cover story. From the earliest seconds of ` Right Now' you know. Siouxsie baba da baping away to the noise of her own fingers clicking until Budgie barges in with congas on speed.
Christ which way is this going? The one direction you don't expect is a vagrant big band coughing out drunken bursts of brass in a Starlight Room of its own making. Budgie and Siouxsie - the Fred and Ginger of the wayward world". Number One's Paul Bursche shared the same of point of view, writing, "A big blast of'60s swing laced with a deft'80s touch sung by none other than the graceful - Siouxsie? Releasing a cover version of Mel Tormé's classic is about the most alternative thing the Creatures could have done, and it works. The siren sounds great as layer after layer of multi-tracked voice get going, and wait for the video. A gold plated hit for sure"; the video, featuring Siouxsie covered in golden powder, was directed by Tim Pope. The Creatures' version of "Right Now" was included on the band's 1997 compilation album A Bestiary Of, it was featured in the soundtrack of My Best Friend's Birthday, an early work by film director Quentin Tarentino. "Right Now" was covered by American girl group the Pussycat Dolls for their debut studio album, PCD.
The Dolls used the arrangement that singer Siouxsie and her band the Creatures had brought to the version in 1983, including the introduction with the "palala pam pam" sung by the female singers, the clicked fingers that marked the tempo. These arrangements were not present on the original version by Mel Tormé. On the original album version, Carmit Bachar sang the second verse and Melody Thornton sang background vocals and ad-libs at the end of the song. In 2006, "Right Now" was used as the alternate opening and "bumper" theme to the NBA on ABC with several commercials filmed of the group dancing to the song; the NBA version was sung by Dolls lead singer Nicole Scherzinger. In September 2006, ABC used the song to promote "Listen to the Rain on the Roof", the first episode of the third season of Desperate Housewives; the Pussycat Dolls' NBA version of "Right Now" was released by A&M Records/Interscope Records as a digital single on January 23, 2007. "Right Now by Mel Tormé" 1962 on YouTube Retrieved on 2 May 2012 "Right Now by the Creatures" 1983 on YouTube.
Retrieved on 2 May 2012 "Right Now by the Pussycat Dolls" 2006 on YouTube Retrieved on 18 May 2009
Rhythm and blues
Rhythm and blues abbreviated as R&B, is a genre of popular music that originated in African American communities in the 1940s. The term was used by record companies to describe recordings marketed predominantly to urban African Americans, at a time when "urbane, jazz based music with a heavy, insistent beat" was becoming more popular. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands consisted of piano, one or two guitars, drums, one or more saxophones, sometimes background vocalists. R&B lyrical themes encapsulate the African-American experience of pain and the quest for freedom and joy, as well as triumphs and failures in terms of relationships and aspirations; the term "rhythm and blues" has undergone a number of shifts in meaning. In the early 1950s, it was applied to blues records. Starting in the mid-1950s, after this style of music contributed to the development of rock and roll, the term "R&B" became used to refer to music styles that developed from and incorporated electric blues, as well as gospel and soul music.
In the 1960s, several British rock bands such as the Rolling Stones, the Who and the Animals were referred to and promoted as being R&B bands. Their mix of rock and roll and R&B is now known as "British rhythm and blues". By the 1970s, the term "rhythm and blues" changed again and was used as a blanket term for soul and funk. In the 1980s, a newer style of R&B developed, becoming known as "contemporary R&B", it combines elements of rhythm and blues, soul, hip hop, electronic music. Popular R&B vocalists at the end of the 20th century included Prince, R. Kelly, Stevie Wonder, Chaka Khan, Whitney Houston, Mariah Carey. In the 21st century, R&B has remained a popular genre becoming more pop orientated and alternatively influenced with successful artists including Usher, Bruno Mars, Chris Brown, Justin Timberlake, The Weeknd, Frank Ocean and Khalid. Although Jerry Wexler of Billboard magazine is credited with coining the term "rhythm and blues" as a musical term in the United States in 1948, the term was used in Billboard as early as 1943.
It replaced the term "race music", which came from within the black community, but was deemed offensive in the postwar world. The term "rhythm and blues" was used by Billboard in its chart listings from June 1949 until August 1969, when its "Hot Rhythm & Blues Singles" chart was renamed as "Best Selling Soul Singles". Before the "Rhythm and Blues" name was instated, various record companies had begun replacing the term "race music" with "sepia series". Writer and producer Robert Palmer defined rhythm & blues as "a catchall term referring to any music, made by and for black Americans", he has used the term "R&B" as a synonym for jump blues. However, AllMusic separates it from jump blues because of R&B's stronger gospel influences. Lawrence Cohn, author of Nothing but the Blues, writes that "rhythm and blues" was an umbrella term invented for industry convenience. According to him, the term embraced all black music except classical music and religious music, unless a gospel song sold enough to break into the charts.
Well into the 21st century, the term R&B continues in use to categorize music made by black musicians, as distinct from styles of music made by other musicians. In the commercial rhythm and blues music typical of the 1950s through the 1970s, the bands consisted of piano, one or two guitars, bass and saxophone. Arrangements were rehearsed to the point of effortlessness and were sometimes accompanied by background vocalists. Simple repetitive parts mesh, creating momentum and rhythmic interplay producing mellow and hypnotic textures while calling attention to no individual sound. While singers are engaged with the lyrics intensely so, they remain cool, in control; the bands dressed in suits, uniforms, a practice associated with the modern popular music that rhythm and blues performers aspired to dominate. Lyrics seemed fatalistic, the music followed predictable patterns of chords and structure; the migration of African Americans to the urban industrial centers of Chicago, New York City, Los Angeles and elsewhere in the 1920s and 1930s created a new market for jazz and related genres of music.
These genres of music were performed by full-time musicians, either working alone or in small groups. The precursors of rhythm and blues came from jazz and blues, which overlapped in the late-1920s and 1930s through the work of musicians such as the Harlem Hamfats, with their 1936 hit "Oh Red", as well as Lonnie Johnson, Leroy Carr, Cab Calloway, Count Basie, T-Bone Walker. There was increasing emphasis on the electric guitar as a lead instrument, as well as the piano and saxophone. In 1948, RCA Victor was marketing black music under the name "Blues and Rhythm". In that year, Louis Jordan dominated the top five listings of the R&B charts with three songs, two of the top five songs were based on the boogie-woogie rhythms that had come to prominence during the 1940s. Jordan's band, the Tympany Five, consisted of him on saxophone and vocals, along with musicians on trumpet, tenor saxophone, piano and drums. Lawrence Cohn described the music as "grittier than his boogie-era jazz-tinged blues". Robert Palmer described it as "urbane, jazz-based music with a heavy, insistent beat".
Jordan's music, along with that of Big Joe Turner, Roy Brown, Billy Wright, Wynonie Harris, is now referred to as jump blues. Paul Gayten, Roy Brown, others had had hits in the style now referred to as rhythm and blu
Melody Maker was a British weekly music magazine, one of the world's earliest music weeklies, and—according to its publisher IPC Media—the earliest. It was founded in 1926 as a magazine for dance band musicians, by Leicester-born composer, publisher Lawrence Wright. In 2000 it was merged into "long-standing rival" New Musical Express; the Melody Maker concentrated on jazz, had Max Jones, one of the leading British proselytizers for that music, on its staff for many years. It was slow to cover rock and roll and lost ground to the New Musical Express, which had begun in 1952. MM launched its own weekly singles chart on 7 April 1956, an LPs charts in November 1958, two years after the Record Mirror had published the first UK Albums Chart. From 1964, the paper led its rival publications in terms of approaching music and musicians as a subject for serious study rather than entertainment. Staff reporters such as Chris Welch and Ray Coleman applied a perspective reserved for jazz artists to the rise of American-influenced local rock and pop groups, anticipating the advent of music criticism.
On 6 March 1965, MM called for the Beatles to be honoured by the British state. This duly happened on 12 June that year, when all four members of the group were appointed as members of the Order of the British Empire. By the late 1960s, MM had recovered, targeting an older market than the teen-oriented NME. MM had more specialised advertising, it ran pages devoted to "minority" interests like folk and jazz, as well as detailed reviews of musical instruments. A 1968 Melody Maker poll named John Peel best radio DJ, attention which John Walters said may have helped Peel keep his job despite concerns at BBC Radio 1 about Peel's style and record selection. Starting from the mid-Sixties, critics such as Welch, Richard Williams, Michael Watts, Steve Lake were among the first British journalists to write about popular music, shedding an intellectual light on such artists as Steely Dan, Cat Stevens, Led Zeppelin. Pink Floyd and Henry Cow. By the early 1970s, Melody Maker was considered "the musos' journal" and associated with progressive rock.
But Melody Maker reported on teenybopper pop sensations like The Osmonds, the Jackson 5, David Cassidy. The music weekly gave early and sympathetic coverage to glam rock. Richard Williams wrote the first pieces about Roxy Music, while Roy Hollingworth wrote the first article celebrating New York Dolls in proto-punk terms while serving as the Melody Maker's New York correspondent. In January 1972, Michael "Mick" Watts, a prominent writer for the paper, wrote a profile of David Bowie that singlehandedly ignited the singer's dormant career. During the interview Bowie claimed, "I'm gay, always have been when I was David Jones." "OH YOU PRETTY THING" ran the headline, swiftly became part of pop mythology. Bowie attributed his success to this interview, stating that, "Yeah, it was Melody Maker that made me, it was that piece by Mick Watts." During his tenure at the paper, Watts toured with and interviewed artists including Syd Barrett, Waylon Jennings, Pink Floyd, Bob Dylan and Bruce Springsteen. Caroline Coon was headhunted by Melody Maker editor Ray Coleman in the mid-1970s and promptly made it her mission to get women musicians taken and between 1974 and 1976 she interviewed Maggie Bell, Joan Armatrading, Lynsey de Paul and Twiggy.
She went on to make it her mission to promote punk rock. In 1978, Richard Williams returned - after a stint working at Island Records - to the paper as the new editor and attempted to take Melody Maker in a new direction, influenced by what Paul Morley and Ian Penman were doing at NME, he recruited Jon Savage, Chris Bohn and Mary Harron to provide intellectual coverage of post-punk bands like Gang of Four, Pere Ubu and Joy Division and of new wave in general. Vivien Goldman at NME and Sounds, gave the paper much improved coverage of reggae and soul music, restoring the superior coverage of those genres that the paper had in the early 1970s. Despite this promise of a new direction for the paper, internal tension developed, principally between Williams and Coleman, by this time editor-in-chief, who wanted the paper to stick to the more "conservative rock" music it had continued to support during the punk era. Coleman had been insistent that the paper should "look like The Daily Telegraph", but Williams wanted the paper to look more contemporary.
He commissioned an updated design. In 1980, after a strike which had taken the paper out of publication for a period, Williams left MM. Coleman promoted Michael Oldfield from the design staff to day-to-day editor, for a while, took it back where it had been, with news of a line-up change in Jethro Tull replacing features about Andy Warhol, Gang of Four and Factory Records on the cover. Several journalists, such as Chris Bohn and Vivien Goldman, moved to NME, while Jon Savage joined the new magazine The Face. Coleman left in 1981, the paper's design was updated, but sales and prestige were at a low ebb through the early 1980s, with NME dominant. By 1983, the magazine had become more populist and pop-oriented, exemplified by its modish "MM" masthead, regular covers for the likes of Duran Duran and its choice of Eurythmics' Touch as the best album of the year. Things were to change, however. In February 1984, Allan Jones, a staff writer on the paper since 1974, was appointed editor: defying instructions to put Kajagoogoo on the cover, he led the magazine with an article
Gary Barnacle is an English saxophonist, brass instrument arranger and producer noted for session work, live work incl. Various Princes Trust Concerts at Wembley Arena, the Royal Albert Hall and the National Exhibition Centre in Birmingham, plus the Nelson Mandela 70th Birthday Tribute at Wembley Stadium in 1988, television/video appearances, during the 1980s and 1990s, with a large number of popular music acts, including The Clash, The Ruts, Level 42, Paul Hardcastle, Kim Wilde, Holly Johnson, Derek B, Soul II Soul, Jimmy Ray, Tina Turner, General Public, Soft Cell, Elvis Costello, Del Amitri, Shed Seven, T'Pau, Roger Daltrey, David Bowie, The Big Dish, The Cross, Pet Shop Boys, Stock Aitken Waterman and Paul McCartney, among others, he was in an electropop duo called Leisure Process from 1982–83, with ex-Positive Noise singer, Ross Middleton. Gary Barnacle was born in Dover, England in 1959, he started playing in bands in and around the Dover area, with his father Bill Barnacle, his brothers Steve Barnacle and Pete Barnacle and their friend Topper Headon.
He moved, with his two brothers, to London in 1976 and began a career as a session musician. Barnacle performed the saxophone part in many albums by The Clash. Early examples are "City of the Dead", B-side of "Complete Control", "1-2 Crush On You", the B-side of "Tommy Gun" released as a single on 24 November 1978, their version of Booker T. & the M. G.'s' classic "Time Is Tight", released on the 1980 extended play Black Market Clash. Both songs can be heard on the 1993 compilation album, Super Black Market Clash, he played on their albums Sandinista! Released on 12 December 1980 as a triple album, the single This Is Radio Clash released on 20 November 1981 and Combat Rock released on 14 May 1982 through Epic Records, he was introduced to The Clash through their drummer, school friend of Barnacle's, Topper Headon, became involved in The Clash's infamous 1978 "pigeon shooting" incident. Barnacle formed a horn section in 1978 with trumpeter Luke Tunney, called the Hit And Run Horns. In 1979 they added Annie Whitehead on trombone.
These three played on many sessions together for the next 3 years or so. Barnacle collaborated with The Ruts on their first two albums, both on Virgin label, The Crack, released in September 1979, Grin & Bear It, released in October 1980. After the death of their frontman, Malcolm Owen, found dead from a heroin overdose on 14 July 1980 at the age of 26, the band continued as Ruts D. C. in a different musical vein. Barnacle became a stable member of the band and they released two other albums, Animal Now in May 1981 on Virgin, Rhythm Collision released in July 1982 on Bohemian Records. Ruts D. C. split in 1983. During 1979–1980 he contributed to M's debut album, New York • London • Paris • Munich, released in 1979, to Sanity Stomp, released by Kevin Coyne in 1980. In 1981, contributed to the debut albums by Positive Noise - Heart of Darkness, Stray Cats and In Trance as Mission by Simple Minds plus "Power and the Passion" by Midnight Oil and performed saxophone on Rick Wakeman's 1984, a solo concept album based on the classic novel Nineteen Eighty-Four by George Orwell.
That year he played saxophone on the Black Snake Diamond Röle debut solo album by former Soft Boys frontman Robyn Hitchcock. But, one of Barnacle's longest associations has been with Level 42, with whom he has played on several albums, including the band's 1981 debut, the 1984 True Colours, the 1985 World Machine, the 1987 Running in the Family. From 1990 to 1994 Barnacle toured with Level 42 and recorded two of the band's albums and Forever Now; the horn section he formed with British trumpet and fluegelhorn player, John Thirkell, for Level 42 is known as The Hen Pecked Horns. Since Barnacle and Thirkell provided the horn section to many recordings, along with trombonist Peter Thoms, they formed The Phantom Horns, one of the UK's most respected horn sections that appears on a number of recordings from 1987 on, they recorded a acclaimed brass-sample CD Phantom Horns, re-issued by Zero-G as a double CD-rom in 2011. Impressive, more comprehensive, was Brit Horns brass-sample CD featuring Gary Barnacle, Peter Thoms and Stuart Brooks, re-issued as a double audio/WAV CD by AMG in 2010.
Both of these sample CDs have, continue to be used on commercial recordings worldwide. In 1982, he and ex-Positive Noise singer, Ross Middleton, formed an electropop duo called Leisure Process; the Band released four singles on Epic label, two in 1982, "Love Cascade" and "A Way You'll Never Be", which featured Mark King and Phil Gould of Level 42, two in 1983, "Cashflow" and "Anxiety". All four singles were produced by Martin Rushent. In 1982, Barnacle collaborated on Julien Clerc's Femmes, Indiscrétion, Blasphème, Mike Rutherford's Acting Very Strange, Marius Müller-Westernhagen's Das Herz eines Boxers, with Visage on their second album. Two years in 1984, with his brother Steve in the band, when Billy Currie and Dave Formula departed the band and Andy Barnett replaced them for what would become Visage's Beat Boy album, released in September 1984 and produced two singles, "Love Glove" and "Beat Boy". A decision to make Visage a live band instead of a studio-based project failed and the band subsequently split in 1985.
In 1983, he contributed to Catch as Catch Can by pop singer, Kim Wilde, and