Carl Ashley Raphael Barât is a British musician, best known for being the co-frontman with Pete Doherty of the garage rock band The Libertines. He was the frontman and lead guitarist of Dirty Pretty Things, in 2010 debuted a solo album. In 2014 he announced the creation of The Jackals. Carl Barât was born in Basingstoke, England on 6 June 1978, spent most of his childhood in Whitchurch, Hampshire. In a September 2004 interview with Blender Magazine, Barât mentioned having a French and Polish ethnic background; as a youth, Barât divided his time between his divorced parents. His father, a former artist, worked in an armaments factory, his mother, was part of the commune-dwelling counterculture and a member of peace groups such as the Campaign for Nuclear Disarmament. Barât spent part of his childhood living with his mother on a commune in Somerset, he has one sister, actress-turned-singer Lucie Barât, who played Helen's handmaiden in the 2004 film Troy, founded publishing house and artistic organization Little Episodes, is the lead singer of The Au Revoirs.
He has three half-siblings, one step brother and one step sister. In 1996, Barât was studying for a drama degree at Brunel University at the Twickenham campus in St. Margarets, Twickenham. Although he dropped out halfway through, during his time he became well-acquainted with Pete Doherty's sister, Amy-Jo and through her, Barât met Doherty, they soon developed an intense friendship based on a shared interest in songwriting. Barât and Doherty developed a shared mythology in which they were on a ship called'The Albion' sailing to'Arcadia'. After both dropped out of school, they formed The Libertines; the band in its final incarnation included drummer Gary Powell. Barât and Doherty were co-frontmen, sharing songwriting and guitar duties; the Libertines' first album, Up the Bracket, was released in 2002 to critical acclaim. The band appeared on the cover of NME before the album was released and rose to fame in the UK; this was due in part, to their volatile stage performances, which were characterised by intense bouts of mic-sharing and play-fighting between Barât and Doherty.
This paralleled their relationship, which by 2003 had progressed to verging on dysfunctional and abusive, with Barât and Doherty being competitive and possessive with each other. Referring to their relationship in a January 2010 interview, Barât said,'...it’s a deep love. Deep love does funny things to people'. In 2003, Doherty's addiction to heroin and crack cocaine led Barât to ask him not to participate in the band's next tour; when Doherty discovered that The Libertines had left without him to perform in Japan he broke into Barât's Mayfair flat and stole various items, including an antique guitar and an NME Award. He was sentenced to six months in prison. Barât warmly welcomed Doherty back to The Libertines on the day of his release, they performed an impromptu "Freedom Gig" at the Tap'n' Tin club in Chatham, Kent on 8 October 2003. A photograph of the gig, taken by Roger Sargent, adorns The Libertines' self-titled second album, The Libertines, the cover of Sargent's and Anthony Thornton's book, The Libertines Bound Together.
Doherty's drug addiction continued while the band worked on their second album in 2004, which strained his relationship with Barât. Bodyguards were needed in the recording sessions to prevent Barât and Doherty from physically assaulting each other and to keep Doherty's hangers-on away from him. Before the release of the album in 2004, relations between Barât and Doherty reached a breaking point and Doherty was once again prevented from performing with the band before addressing his addictions. Doherty did not take the ultimatum well as The Libertines continued touring without him to fulfill contractual obligations. Doherty admitted in a September 2005 interview that he had not spoken to any of his former bandmates since then. What was intended as a short leave of absence turned into something more permanent, as Doherty formed a new band and the Libertines disbanded after their final gig in December 2004. On 15 May 2009, Pete and Gary of the Libertines played on stage together for the first time since the split in 2004.
The Libertines came together for a tribute gig for Johnny Sedassy. The six song set, which included "What a Waster", "Up the Bracket" and "Death on the Stairs", was played after Babyshambles appeared on stage. Barât explained that the show was a'one off', although he admitted that the likelihood of more shows could not be ruled out. Barât expressed his desire to get on stage with Pete again, although not until 2010. Drummer Gary Powell confirmed that he'd be interested in a full reunion, although he wishes to "readdress old ghosts first"; the Libertines delighted their fans by announcing that year that they would be headline artists at the 2010 Reading and Leeds Festivals. Their set and the characteristic chemistry between the pair, was for many people one of the highlights of the weekend. In April 2014 the Libertines announced. In November 2014 the band signed a record deal with Virgin EMI Records, released their third album, Anthems for Doomed Youth on 11 September 2015, leading to Headline slots at Reading and Leeds, T in the Park as well as a surprise slot at Glastonbury.
They toured across 2017 finishing with a tour across the seaside. In 2018 it was announced The Libertines hav
The Libertines (album)
The Libertines is the second album by English indie rock band The Libertines. Released on 30 August 2004, it is biographical of the relationship between frontmen Carl Barât and Pete Doherty; the album debuted at number one on the UK Albums Chart, selling 72,189 copies in its first week of release. The album is included in the book. In 2006, NME placed the album 47 in a list of the greatest British albums ever. In 2013, NME ranked the album at number 99 in its list of The 500 Greatest Albums of All Time. On the other hand, The Libertines was voted the third-most overrated album made in a 2005 BBC public poll; the Libertines, like its 2002 predecessor, Up the Bracket, was re-released with a bonus DVD on 22 November 2004. The DVD, entitled Boys in the Band, is a collection of live shows, band interviews, the "Can't Stand Me Now" promotional video; the song "Arbeit Macht Frei" featured in the 2006 film Children of Men. The album's front cover art features a photograph of Carl Barât and Pete Doherty taken by Roger Sargent during the emotional "Freedom Gig" at the Tap'n' Tin club in Chatham, Kent, on 8 October 2003, when Doherty reunited with the Libertines for a gig just hours after being released from jail, where he was sentenced for breaking into Barât's flat and stealing various items, including an old guitar and a laptop computer.
Doherty returned to the Tin club on 20 December 2008 for a one-off gig with Chas & Dave. "Can't Stand Me Now" 9 August 2004, No. 2 "What Became of the Likely Lads" 25 October 2004 No. 9 "What Katie Did" was released as a one-sided, 7-inch flexi disc given away with Amelia's Magazine "Can't Stand Me Now" – 3:23 "Last Post on the Bugle" – 2:32 "Don't Be Shy" – 3:03 "The Man Who Would Be King" – 3:59 "Music When the Lights Go Out" – 3:02 "Narcissist" – 2:10 "The Ha Ha Wall" – 2:29 "Arbeit Macht Frei" – 1:13 "Campaign of Hate" – 2:10 "What Katie Did" – 3:49 "Tomblands" – 2:06 "The Saga" – 1:53 "Road to Ruin" – 4:21 "What Became of the Likely Lads" / "France" – 5:54Japanese bonus tracks "Don't Look Back into the Sun" "Cyclops" "Dilly Boys" Australian bonus tracks "France" "Never Never" "I Got Sweets" Japanese and Mexican bonus DVD "What a Waster" "Death on the Stairs" "Up the Bracket" "I Get Along" "The Boy Looked at Johnny" "The Boy Looked at Johnny" Busking for Beer + Assorted Covers and Song Segments "Can't Stand Me Now" Photo Gallery Extras As well as the songs listed above, there is a hidden track, titled "France", composed by Barat, which starts at 3:28 of "What Became of the Likely Lads".
A re-recording of an old Libertines song which appeared on one of their first demos, recorded at Odessa Studios, "France" was written and performed by Carl Barât. The final listed track is a nod to the British sitcom Whatever Happened to the Likely Lads
John Hassall (musician)
John Cory Hassall is an English musician and bassist for The Libertines. He now performs with his own band The April Rainers, he formed the band Yeti. He has said, he went on to buy their entire discography in chronological order. Hassall attended Highgate School, it is reported Borrell was part of the band's line up as bass player before Hassall. Hassall ended up playing bass, he played in various bands for a few years. Doherty and Carl Barât had founded the Libertines, but were in need of a bassist and drummer, it is said that Doherty was intrigued by Hassall not only for his talent but because he had'proper' equipment. To play the drums on their first recording session, the trio hired Paul Dufour. Hassall was hired to rejoin them on bass when they were signed by Rough Trade in late 2001, he continued to play with the band until they disbanded at the end of 2004. The band has since reformed and was a "Special Guest" at the Reading/Leeds Festival on 28 August 2010. According to both Barât and Doherty, The Libertines plan to play live at Hyde Park in London on 5 July 2014 with some new material which they may record in the future.
Hassall has formed a new band, The April Rainers in Aarhus Denmark, where he lives with his Danish wife Line Hassall Thomsen. After a number of Scandinavian gigs and support slots on Pete Doherty's Eudaimonia tour, the Rainers played a series of headlining gigs in England; the band's much delayed debut album Wheels to Idyll was released in March 2017, following single releases and videos for "Given time","Intercity 125", "Wether girl" and "Mosey through your mind", the latter being directed by Libertines collaborator Roger Sargent. Libertines biography from MTV
New Musical Express is a British music journalism website and former magazine, published since 1952. It was the first British paper to include a singles chart, in the edition of 14 November 1952. In the 1970s it became the best-selling British music newspaper. During the period 1972 to 1976, it was associated with gonzo journalism became associated with punk rock through the writings of Julie Burchill, Paul Morley and Tony Parsons, it started as a music newspaper, moved toward a magazine format during the 1980s and 1990s, changing from newsprint in 1998. An online version, NME.com, was launched in 1996. It became the world's biggest standalone music site, with over sixteen million users per month. With newsstand sales falling across the UK magazine sector, the magazine's paid circulation in the first half of 2014 was 15,830. In 2013, the list of NME's The 500 Greatest Albums of All Time and the way it was conceived was criticized by the media; the printed magazine NME was relaunched in September 2015 to be distributed nationally as a free publication.
The first average circulation published in February 2016 of 307,217 copies per week was the highest in the brand's history, beating the previous best of 306,881, recorded in 1964 at the height of the Beatles' fame. By December 2017, according to the Audit Bureau of Circulations, average distribution of NME had fallen to 289,432 copies a week, although its publisher Time Inc. UK claimed to have more than 13m global unique users per month, including 3m in the UK. In March 2018, the publisher announced that the print edition of NME would cease publication after 66 years, leaving it as an online-only title. NME's headquarters are in Southwark, England; the brand's current editor is Charlotte Gunn, replacing Mike Williams, who stepped down in February 2018. The paper was established in 1952; the Accordion Times and Musical Express was bought by London music promoter Maurice Kinn, for the sum of £1,000, just 15 minutes before it was due to be closed. It was relaunched as the New Musical Express, was published in a non-glossy tabloid format on standard newsprint.
On 14 November 1952, taking its cue from the US magazine Billboard, it created the first UK Singles Chart, a list of the Top Twelve best-selling singles. The first of these was, in contrast to more recent charts, a top twelve sourced by the magazine itself from sales in regional stores around the UK; the first number one was "Here in My Heart" by Al Martino. During the 1960s the paper championed the new British groups emerging at the time; the NME circulation peaked under Andy Gray with a figure of 306,881 for the period from January to June 1964. The Beatles and the Rolling Stones were featured on the front cover; these and other artists appeared at the NME Poll Winners' Concert, an awards event that featured artists voted as most popular by the paper's readers. The concert featured a ceremony where the poll winners would collect their awards; the NME Poll Winners' Concerts took place between 1959 and 1972. From 1964 onwards they were filmed and transmitted on British television a few weeks after they had taken place.
In the mid-1960s, the NME was dedicated to pop while its older rival, Melody Maker, was known for its more serious coverage of music. Other competing titles included Record Mirror, which led the way in championing American rhythm and blues, Disc, which focused on chart news; the latter part of the decade saw the paper chart the rise of psychedelia and the continued dominance of British groups of the time. During this period some sections of pop music began to be designated as rock; the paper became engaged in a sometimes tense rivalry with Melody Maker. By the early 1970s, NME had lost ground to Melody Maker, as its coverage of music had failed to keep place with the development of rock music during the early years of psychedelia and progressive rock. In early 1972 the paper found itself on the verge of closure by its owner IPC. According to Nick Kent: After sales had plummeted to 60,000 and a review of guitar instrumentalist Duane Eddy had been printed which began with the immortal words "On this, his 35th album, we find Duane in as good as voice as ever," the NME had been told to rethink its policies or die on the vine.
Alan Smith was made editor in 1972, was told by IPC to turn things around or face closure. To achieve this and his assistant editor Nick Logan raided the underground press for writers such as Charles Shaar Murray and Nick Kent, recruited other writers such as Tony Tyler, Ian MacDonald and Californian Danny Holloway. According to The Economist, the New Musical Express "started to champion underground, up-and-coming music.... NME became the gateway to a more rebellious world. First came glamrock, bands such as T. Rex, came punk....by 1977 it had become the place to keep in touch with a cultural revolution, enthralling the nation's listless youth. Bands such as Sex Pistols, X-Ray Spex and Generation X were regular cover stars, eulogised by writers such as Julie Burchill and Tony Parsons, whose nihilistic tone narrated the punk years perfectly." By the time Smith handed the editor's chair to Logan in mid-1973, the paper was selling nearly 300,000 copies per week and was outstripping Melody Maker, Record Mirror and Sounds.
According to MacDonald: I think all the other papers knew by 1974 that NME had become the best music paper in Britain. We had most of the best writers and photographers, the best layouts
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
British Phonographic Industry
The BPI Limited known as the British Phonographic Industry or BPI, is the British recorded music industry's trade association. Its membership comprises hundreds of music companies including all three "major" record companies in the UK, hundreds of independent music labels and small to medium-sized music businesses, it has represented the interests of British record companies since being formally incorporated in 1973 when the principal aim was to promote British music and fight copyright infringement. In 2007, the association's legal name was changed from British Phonographic Industry Limited, it founded the annual BRIT Awards for the British music industry in 1977, The Classic BRIT Awards. The organizing company, BRIT Awards Limited, is a owned subsidiary of the BPI. Proceeds from both shows go to the BRIT Trust, the charitable arm of the BPI that has donated £15m to charitable causes nationwide since its foundation in 1989. In September 2013, the BPI presented the first BRITs Icon Award to Sir Elton John.
The BPI endorsed the launch of the Mercury Prize for the Album of the Year in 1992. The recorded music industry's Certified Awards program, which attributes Platinum and Silver status to singles and music videos based on their sales performance, has been administered by the BPI since its inception in 1973. In September 2008, the BPI became one of the founding members of UK Music, an umbrella organisation representing the interests of all parts of the industry; the charitable arm of the BPI, the trust was conceived in 1989 by a collection of leading music industry individuals with a mission to give young people a chance to express their musical creativity regardless of race, sex or ability. The BRIT Trust is the only music charity supporting all types of education across the entire spectrum of music. Through the projects it supports, which include Nordoff-Robbins Music Therapy and the BRIT School, the Trust offers young people the opportunity to enhance their lives through music. Proceeds from the BRIT Awards and the Classic BRITs shows go to the BRIT Trust, which has donated £15m to charitable causes nationwide since its foundation.
Opened in September 1991, the BRIT School is a joint venture between The BRIT Trust and the Department for Education and Skills. Based at Selhurst in Croydon, the school is the only non fee-paying performing arts school in the UK, it teaches up to 1,100 students each year aged from 14–19 years in music, drama, musical theatre, production and art & design. Students are from diverse backgrounds and are not required to stick to their own discipline. Nor do students have to work/perform in the evening to pay for the tuition; the BPI administers the BRIT Certified Platinum, Gold and Bronze awards scheme for music releases in the United Kingdom. The level of the award varies depending on the format of the release and the level of sales achieved. Although the awards program was for many years based on the level of shipments by record labels to retailers, since July 2013, certifications have been automatically allocated by the BPI upon the relevant sales thresholds being achieved. Member companies do, still have the option to certify titles based on shipment levels if they choose to.
Since July 2014, audio streaming has been included for singles at a ratio of 100 streams equivalent to 1 unit. From June 2015, audio streams were added to album certifications. According to BPI, they would take the 12 most-streamed tracks from the standard version of an album, with the top two songs down-weighted in line with the average of the rest; the total of these streams will be divided by 1,000 and added to the physical and digital sales of the album. On 6 April 2018, the BPI announced changes to its certifications. A new Bronze certification was introduced, which will be awarded to an artist's first album to reach 30,000 units. Additionally, the program was re-branded as BRIT Certified, with public promotion of the programme being assumed by the BRIT Awards' social media outlets and digital properties. Chief executive Geoff Taylor justified the change by stating that it was part of an effort to cross-promote the certifications with "the UK's biggest platform for artistic achievement".
Adam Barker – Universal Music UK Mike Batt LVO – Deputy chairman, BPI - Dramatico Entertainment John Craig OBE – First Night Records Jonathan Cross – Warner Music UK Nick Gatfield – Sony Music Entertainment Nick Hartley – PIAS David Joseph – Universal Music UK Max Lousada – Warner Music UK Korda Marshall – Infectious Music Iain McNay – Cherry Red Records Emma Pike – Sony Music Entertainment Peter Stack – Union Square Music Geoff Taylor – Chief executive officer, BPI and BRIT Awards Limited Tony Wadsworth CBE – Chairman, BPI and BRIT Awards Limited Kiaron Whitehead – General counsel, BPISource: BPI The BPI have developed bespoke software and automated crawling tools created in-house by the BPI search for members repertoire across more than 400 known infringing sites and generate URLs which are sent to Google as a DMCA Notice for removal within hours of receipt. Additionally, personnel are seconded to the City of London Police Intellectual Property Crime Unit to support anti-"piracy" operations.
Home Taping Is Killing Music Official C
Peter Wolfe (musician)
Peter Wolfe known as Wolfman, is an English poet and songwriter, best known for his collaborations with Libertines and Babyshambles singer Pete Doherty. Wolfe was born in Maidstone of Irish Gypsy stock, his mother left when he was four and his father, a carpenter, subscribed to the tough-love school of parenting. Wolfe intended to be a professional footballer and spent two months with Gillingham FC. Leaving school with no O-levels, he became a plumber. At 18 he moved to London, for a short while shared a flat with Shane MacGowan. In the early 1990s, he moved to a flat in the Blackstock Road and worked on his career as a musician. However, Wolfe was "relentlessly unsuccessful". Throughout the 1990s Wolfe was in and out of the major recording studios, but failed to secure a recording contract. In February 2001, Wolfe was the subject of a film documentary commissioned for The Other Side on Channel Four in the UK; the half-hour film titled, The Greatest Unknown Rock'n' Roll Star, was directed by filmmaker Andy Lee, who worked for a year as Wolfe's manager.
In 2001, Wolfe met Pete Doherty in Islington. They formed a relationship based on songwriting. Wolfe about their relationship: "He turned up at my flat and started hanging around saying he was in a band. He's a great fucking person. Sometimes awful but sometimes kind. Maybe he was the first person to look at me through eyes which didn't say,'This guy's a cunt'."In 2003, Wolfe recorded "For Lovers" together with Doherty. Wolfe had written the song in the mid 1990s and recorded a demo with his old school friend and musical collaborator, Julian Taylor. Doherty altered the words to one verse, musicians in Wolfe's band, "The Side Effects", along with record producer Jake Fior made other changes to the arrangement for the single recording; the single was Wolfe's biggest success as musician, reaching #7 in the UK Singles Chart. Despite the success of the single, nominated for an Ivor Novello Award for songwriting, the pair received little money. Rumours that the publishing rights were sold for "a small amount in a pub" are unfounded, as the rights were shared amongst the musicians who worked without pay on the recording.
On 12 July 2008, Wolfe joined Doherty on stage during his solo show at the Royal Albert Hall and they performed "For Lovers" together. Wolfe's appearance on stage however did not meet critical acclaim. According to one critic the song was "sabotaged" by lack of charisma. On 16 March 2009, Doherty's solo album, Grace/Wastelands was released, it featured "Broken Love Song", a song co-written with Wolfe. A picture of Wolfe talking to Doherty and a painting of Wolfe appeared in the album art. Wolfe is listed as a co-writer of various songs for Doherty's band Babyshambles, including "Back from the Dead" and "Sticks and Stones" from Down in Albion, "UnBiloTitled" from Shotter's Nation, "Stranger in My Own Skin", which appears as a bonus track on Babyshambles' 2013 album Sequel to the Prequel. Wolfe is credited as co-writer of Gunga Din which appeared on the Libertines' 2015 album Anthems for Doomed Youth. Wolfe and partner Natalie Coolen have a son, Arthur Wolfe, born 12 June 2017. Like Doherty, Wolfe has had a long-standing addiction to heroin.
On 28 September 2010, Wolfe was charged with possessing and supplying cocaine, whilst Doherty was charged with possession, in a police investigation into the death of documentary filmmaker Robyn Whitehead, a member of the wealthy Goldsmith family, who overdosed and died in Wolfe's flat. On 20 May 2011 he was sentenced to one year imprisonment in Pentonville Prison, reduced to eight months on appeal for two counts of possession of cocaine and one count of supplying cocaine linked to this episode. "For Lovers" #7 UK "Napoleon" #44 UK "Ice Cream Guerilla" #60 UK Wolfman's official website Some Wolfman songs for download