Warner Bros. Records
Warner Bros. Records Inc. is an American record label owned by Warner Music Group and headquartered in Burbank, California. It was founded in 1958 as the recorded music division of the American film studio Warner Bros. and was one of a group of labels owned and operated by larger parent corporations for much of its existence. The sequence of companies that controlled Warner Bros. and its allied labels evolved through a convoluted series of corporate mergers and acquisitions from the early 1960s to the early 2000s. Over this period, Warner Bros. Records grew from a struggling minor player in the music industry to one of the top record labels in the world. In 2004, these music assets were divested by their owner Time Warner and purchased by a private equity group; this independent company traded as the Warner Music Group and was the world's last publicly traded major music company before being bought and privatized by Access Industries in 2011. Warner Music Group is the smallest of the three major international music conglomerates that include Universal Music Group and Sony Music Entertainment.
Max Lousada oversees recorded music operations of the company. Notable artists signed to Warner Bros. Records have included Prince, Kylie Minogue, Goo Goo Dolls, Sheryl Crow, Lil Pump, Green Day, Adam Lambert, Bette Midler, Duran Duran, Fleetwood Mac, Liam Gallagher, Fleet Foxes, Jason Derulo, Lily Allen and Sara, Dua Lipa, Linkin Park, Nile Rodgers, Red Hot Chili Peppers, the Black Keys, My Chemical Romance, Mr. Bungle, Regina Spektor, Van Halen. At the end of the silent movie period, Warner Bros. Pictures decided to expand into publishing and recording so that it could access low-cost music content for its films. In 1928, the studio acquired several smaller music publishing firms which included M. Witmark & Sons, Harms Inc. and a partial interest in New World Music Corp. and merged them to form the Music Publishers Holding Company. This new group controlled valuable copyrights on standards by George and Ira Gershwin and Jerome Kern and the new division was soon earning solid profits of up to US$2 million every year.
In 1930, MPHC paid US$28 million to acquire Brunswick Records, whose roster included Duke Ellington, Red Nichols, Nick Lucas, Al Jolson, Earl Burtnett, Ethel Waters, Abe Lyman, Leroy Carr, Tampa Red and Memphis Minnie, soon after the sale to Warner Bros. the label signed rising radio and recording stars Bing Crosby, Mills Brothers, Boswell Sisters. For Warner Bros. the dual impact of the Great Depression and the introduction of broadcast radio harmed the recording industry—sales crashed, dropping by around 90% from more than 100 million records in 1927 to fewer than 10 million by 1932 and major companies were forced to halve the price of records from 75c to 35c. In December 1931, Warner Bros. offloaded Brunswick to the American Record Corporation for a fraction of its former value, in a lease arrangement which did not include Brunswick's pressing plants. Technically, Warner maintained actual ownership of Brunswick, which with the sale of ARC to CBS in 1939 and their decision to discontinue Brunswick in favor of reviving the Columbia label, reverted to Warner Bros.
Warner Bros. sold Brunswick a second time, this time along with the old Brunswick pressing plants Warner owned, to Decca Records in exchange for a financial interest in Decca. The studio stayed out of the record business for more than 25 years, during this period it licensed its film music to other companies for release as soundtrack albums. Warner Bros. returned to the record business in 1958 with the establishment of its own recording division, Warner Bros. Records. By this time, the established Hollywood studios were reeling from multiple challenges to their former dominance—the most notable being the introduction of television in the late 1940s. Legal changes had a major impact on their business—lawsuits brought by major stars had overthrown the old studio contract system by the late 1940s. Pictures sold off much of its film library in 1948 and, beginning in 1949, anti-trust suits brought by the US government forced the five major studios to divest their cinema chains. In 1956, Harry Warner and Albert Warner sold their interest in the studio and the board was joined by new members who favoured a renewed expansion into the music business—Charles Allen of the investment bank Charles Allen & Company, Serge Semenenko of the First National Bank of Boston and investor David Baird.
Semenenko in particular had a strong professional interest in the entertainment business and he began to push Jack Warner on the issue of setting up an'in-house' record label. With the record business booming - sales had topped US$500 million by 1958 - Semnenko argued that it was foolish for Warner Bros. to make deals with other companies to release its soundtracks when, for less than the cost of one motion picture, they could establish their own label, creating a new income stream that could continue indefinitely and provide an additional means of exploiting and promoting its contract actors. Another impetus for the label's creation was the brief music career of Warner Bros. actor Tab Hunter. Although Hunter was signed to an exclusive acting contract with the studio, it did not prevent him from signing a recording contract, which he did with Dot Records, owned at the time by Paramount Pictures. Hunter scored several hits for Dot, including the US #1 single, "Young Love", to Warner Bros.' chagrin, reporters were asking about the hit record, rather than
Blue-eyed soul is rhythm and blues and soul music performed by white artists. The term was coined in the mid-1960s, to describe white artists who performed soul and R&B, similar to the music of the Motown and Stax record labels. Though many rhythm and blues radio stations in the United States in that period would play music only by black musicians, some began to play music by white acts considered to have "soul feeling" and their music was described as "blue-eyed soul". Georgie Woods, a Philadelphia radio DJ, is thought to have coined the term "blue-eyed soul" in 1964 to describe The Righteous Brothers white artists in general who received airplay on rhythm and blues radio stations; the Righteous Brothers in turn named their 1964 LP Some Blue-Eyed Soul. According to Bill Medley of the Righteous Brothers, R&B radio stations who played their songs were surprised to find them to be white when they turned up for interviews, one DJ in Philadelphia started saying "Here's my blue-eyed soul brothers", it became a code to signal to the audience that they were white singers.
The popularity of The Righteous Brothers who had a hit with "You've Lost That Lovin' Feelin'" is thought to have started the trend of R&B radio stations to play songs by white artists in the mid-1960s, a more integrative approach, popular with their audience. The term blue-eyed soul was applied to such artists as Sonny & Cher, The Beatles, Tom Jones, Barry McGuire, Roy Head. White musicians playing R&B music, began before the term blue-eyed soul was coined. For instance, in the early 1960s, one of the rare female blue-eyed soul singers was Timi Yuro, whose vocal delivery and repertoire were influenced by African American singers such as Dinah Washington. Lonnie Mack's 1963 gospel-infused vocals earned him widespread critical acclaim as a blue-eyed soul singer. Groups such as The Rascals had soul-tinged pop songs, but it was the soulful vocals of Felix Cavaliere that gave them the blue-eyed soul sound. By the mid-1960s, British singers Dusty Springfield, Eric Burdon and Tom Jones had become leading vocal stars of the emerging style.
Other notable UK exponents of blue-eyed soul included The Spencer Davis Group, Van Morrison, archetypal mod band The Small Faces, whose sound was influenced by the Stax label's house band Booker T. & the M. G.'s. Blue-eyed soul singer Chris Clark became the first white singer to have an R&B hit with Motown Records in 1966. In 1969, Kiki Dee became the first British artist to record with Motown; some British rock groups of the 1960s—such as the Spencer Davis Group, the Animals, the Rolling Stones, the Who —covered Motown and rhythm and blues tracks. In 1967, Jerry Lee Lewis, whose latter days at Sun Records had been characterized by R&B covers, recorded an album for Smash entitled Soul My Way. Delaney and Bonnie produced the blue-eyed soul album Home on Stax in 1969. Michael Sembello, who left home at age 17 to tour with Stevie Wonder and performed on numerous blue-eyed soul hits for Wonder, Brian McKnight, David Sanborn, Bill Champlin and Bobby Caldwell. Todd Rundgren began his career in Woody's Truck Stop, a group based on the model of the Paul Butterfield Blues Band.
After splitting from Big Brother and the Holding Company, Janis Joplin formed a new backup group, the Kozmic Blues Band, composed of session musicians like keyboardist Stephen Ryder and saxophonist Cornelius "Snooky" Flowers, as well as former Big Brother and the Holding Company guitarist Sam Andrew and future Full Tilt Boogie Band bassist Brad Campbell. The band was influenced by the Stax-Volt rhythm and blues and soul bands of the 1960s, as exemplified by Otis Redding and the Bar-Kays; the Stax-Volt R&B sound was typified by the use of horns and had a funky, pop-oriented sound, in contrast to many of the psychedelic and hard rock bands of the period. Hamilton, Joe Frank & Reynolds and the Grass Roots both had successful blue-eyed soul singles. In 1973, the American band Stories and the Canadian group Skylark had successes with their respective blue-eyed soul singles "Brother Louie" and "Wildflower". In February 1975, Tower of Power became the first white/mixed act to appear on Soul Train.
In 1975, David Bowie, another early white artist to appear on Soul Train, released Young Americans, a popular blue-eyed soul album which Bowie himself called "plastic soul". It featured the funk-inspired "Fame", which became Bowie's first number-one hit in the US. Hall & Oates' 1975 Silver Album includes the ballad "Sara Smile", long considered a blue-eyed soul standard. "She's Gone", another soulful hit, was released in 1973 but did better as a re-release after "Sara Smile". Average White Band is a Scottish funk and R&B band who had a series of soul and disco hits between 1974 and 1980, their biggest two being "Pick Up the Pieces" from their 1974 best-selling album AWB, "Cut the Cake" from their 1975 album of the same name. Boz Scaggs' 1976 "Lowdown", which featured Scaggs' laid-back vocals and a smooth funky groove, peaked at No. 3 on the Billboard Pop Singles chart. In April 1976, white funk band Wild Cherry released the Billboard Hot 100 chart topping funk/rock single "Play That Funky Music" and went to number one on the Hot Soul Singles chart.
The single would sell over two million copies. Steely Dan's 1977 single "Josie" was commercially successful. In 1978, Yvonne Elliman's "If I Can't Have You" and a cover of "Hello Stranger" both charted on the R & B charts
Declan Patrick MacManus, better known by his stage name Elvis Costello, is an English musician, songwriter, record producer, television presenter, occasional actor. He began his career as part of London's pub rock scene in the early 1970s and became associated with the first wave of the British punk and new wave movement that emerged in the mid-to-late 1970s, his critically acclaimed debut album, My Aim Is True, was released in 1977. Shortly after recording it, he formed the Attractions as his backing band, his second album, This Year's Model, was released in 1978, was ranked number 11 by Rolling Stone on its list of the best albums from 1967–1987. His third album, Armed Forces, was released in 1979, features his highest-charting single "Oliver's Army", his first three albums all appeared on Rolling Stone's list of the 500 Greatest Albums of All Time. Costello and the Attractions toured and recorded together for the better part of a decade, though differences between them caused a split by 1986.
Much of Costello's work since has been as a solo artist, though reunions with members of the Attractions have been credited to the group over the years. Steeped in wordplay, the vocabulary of Costello's lyrics is broad, his music has drawn on many diverse genres. He has won multiple awards in his career, including a Grammy Award, has twice been nominated for the Brit Award for Best British Male Singer. In 2003, Costello and the Attractions were inducted into the Roll Hall of Fame. In 2004, Rolling Stone ranked Costello number 80 on their list of the 100 Greatest Artists of All Time. Costello has co-written several original songs for motion pictures, including "God Give Me Strength" from Grace of My Heart and "The Scarlet Tide" from Cold Mountain. For the latter, Costello was nominated for the Academy Award for Best Original Song and the Grammy Award for Best Song Written for Visual Media. Costello was born on 25 August 1954 at St Mary's Hospital in Paddington, is of Irish descent on his father's side.
He is the son of Lilian Alda and Ross MacManus, a jazz trumpeter who sang with the Joe Loss Orchestra and who performed as a solo cabaret act. Costello lived in Twickenham, attending both St. Edmund's Catholic Primary School in nearby Whitton and Archbishop Myers Secondary Modern R. C. School, now St Mark's Catholic Secondary School, in neighbouring Hounslow. In 1971, the 16-year-old Costello moved with his Liverpool-born mother to Birkenhead, where he formed his first band, a folk duo called Rusty, with Allan Mayes. After completing his education at St. Francis Xavier's College in Liverpool, Costello worked at a number of office jobs to support himself, most famously at Elizabeth Arden, where he was employed as a data entry clerk; this is immortalised in the lyrics of "I'm Not Angry" as the "vanity factory". He worked for a short period as a computer operator at the Midland Bank computer centre in Bootle. In 1974, he moved back to London, where he formed a pub rock band called Flip City, who were active from 1974 through to early 1976.
Costello's first broadcast recording was with his father in a television commercial for R. White's Lemonade which aired in 1974, his father sang Costello sang backing vocals. He began looking for a solo recording contract, he was signed in 1976 to independent label Stiff Records on the basis of a demo tape. His manager at Stiff, Jake Riviera, suggested that the singer calling himself D. P. Costello, start using the first name Elvis. Costello's first single for Stiff was "Less Than Zero", released on 25 March 1977. Four months his debut album, My Aim Is True, was released to moderate commercial success with Costello appearing on the cover in what became his trademark oversize glasses, bearing some resemblance to Buddy Holly. Costello failed to chart with his early singles, which included "Less Than Zero" and the ballad "Alison". Stiff's records were distributed only in the UK, which meant that Costello's first album and singles were available in the US as imports only. In an attempt to change this, Costello was arrested for busking outside a London convention of CBS Records executives, protesting that no US record company had yet seen fit to release his records in the United States.
Costello signed to Columbia Records, CBS in the U. S. a few months later. The backing for Costello's debut album was provided by American West Coast band Clover, a country outfit living in England whose members would go on to join Huey Lewis and the News and the Doobie Brothers. Costello released his first major hit single, "Watching the Detectives", recorded with Steve Nieve and the pair of Steve Goulding and Andrew Bodnar, both members of Graham Parker's backing band the Rumour. Added to the U. S. version of My Aim Is True, the song contained scathing verses about the vicarious enjoyment of TV violence over a reggae beat. In 1977, Costello formed his own permanent backing band, the Attractions, consisting of Steve Nieve, Bruce Thomas, Pete Thomas. On 17 December 1977, Costello and the Attractions, as a replacement act for the Sex Pistols, were scheduled to play "Less Than Zero" on Saturday Night Live.
Epic Records is an American record label owned by Sony Music Entertainment, a subsidiary of Sony Corporation of America, Inc. the North American division of Japanese conglomerate Sony. The label was founded predominantly as a jazz and classical music label in 1953, but expanded its scope to include a more diverse range of genres, including pop, R&B, hip hop. Epic Records has released music by artists including Glenn Miller, Tammy Wynette, George Michael, The Yardbirds, Shakin Stevens, Cheap Trick, Meat Loaf, Stevie Ray Vaughan, Ted Nugent, Sly & the Family Stone, The Hollies, Celine Dion, ABBA, Culture Club, Dave Clark Five, Gloria Estefan, Pearl Jam, Rage Against the Machine, Michael Jackson. Along with Arista, Columbia and RCA Records, Epic is one of Sony Music Entertainment's four flagship record labels. Artists who have signed to Epic Records include French Montana, Fiona Apple, Sara Bareilles, Jennifer Lopez, Keyshia Cole, Hardwell, Fifth Harmony, Jennifer Hudson, Zara Larsson, Mariah Carey, Ozzy Osbourne, Judas Priest, Busta Rhymes, Rick Ross, 21 Savage, Travis Scott, DJ Khaled, Meghan Trainor, Camila Cabello, Swizz Beatz and Louis Tomlinson.
Epic Records was launched in 1953 by the Columbia Records unit of CBS for the purpose of marketing jazz and classical music that did not fit the theme of its more mainstream Columbia Records label. Initial classical music releases were from Philips Records which distributed Columbia product in Europe. Pop talent on co-owned Okeh Records were transferred to Epic which made Okeh a rhythm and blues label. Epic's bright-yellow and blue logo became a familiar trademark for many jazz and classical releases; this has included such notables as the Berlin Philharmonic, Charles Rosen, the Juilliard String Quartet, Antal Doráti conducting the Hague Philharmonic and George Szell conducting the Cleveland Orchestra. By 1960, Epic became better known for its signing of newer, fledgling acts. By the end of the 1960s, Epic earned its first gold records and had evolved into a formidable hit-making force in rock and roll, R&B and country music. Among its many acts, it included Roy Hamilton, Bobby Vinton, The Dave Clark Five, The Hollies, Tammy Wynette, The Yardbirds, July, Helen Shapiro and Jeff Beck.
Several of the British artists on the Epic roster during the 1960s were the result of CBS's Epic/Okeh units' international distribution deal with EMI. Epic was involved in a notable "trade" of artists. Graham Nash was signed to Epic because of his membership in The Hollies; when the newly formed Crosby, Stills & Nash wanted to sign with Atlantic Records, Ahmet Ertegün worked out a deal with Clive Davis whereby Richie Furay's new band Poco would sign with Epic. Epic's commercial success continued to grow in the 1970s with releases from ABBA in the UK, Cheap Trick, The Clash, Charlie Daniels, Heart, The Isley Brothers, The Jacksons, George Jones, Meat Loaf, Johnny Nash, Ted Nugent, REO Speedwagon, Minnie Riperton, Charlie Rich, Sly & the Family Stone, Steve Vai, Edgar Winter. Contributing to the label's success was its distribution of Philadelphia International Records, which produced additional hit records by acts such as The Three Degrees and McFadden and Whitehead. During the 1960s, Epic oversaw the smaller subsidiary CBS labels including Okeh Records and Date Records.
In 1968, Epic recordings began being distributed in the UK by CBS after the distribution deal with EMI expired that year. Sony Corporation bought CBS Records in 1987, the company was renamed Sony Music in 1991, it began splitting European operations into two separate labels and Columbia, in 1992, in 1997, Sony Music Australia and New Zealand followed suit. In 2004, Sony merged with music distributor BMG, bringing Arista Records, Columbia Records, Epic Records, J Records, Jive Records, RCA Records, Zomba Group of Companies to one parent company known as Sony BMG Music Entertainment. In 2008, Sony bought out BMG for $1.2 billion, bringing all affiliated labels together as Sony Music Entertainment International, SMEI. The merger was approved by the European Union in 2009. Epic's 1980s and 1990s mainstream success were fueled by its signing and releasing of albums by notable acts such as Michael Jackson, Culture Club, the Miami Sound Machine and Gloria Estefan and George Michael, Adam Ant, Living Colour, Dead or Alive, Cyndi Lauper, Ozzy Osbourne, Pearl Jam, Luther Vandross, Stevie Ray Vaughan, Rage Against the Machine, Céline Dion, Oasis among others.
One of the label's greatest financial payoffs came via the release of Thriller, the 1982 album by Michael Jackson, which went on to achieve 51–65 million in worldwide sales, becoming the biggest selling album in history. Epic Soundtrax was founded in 1992, it was central to Epic's 1990s success, with 11 releases cumulatively selling more than 40 million records over a three-year period. Notable releases included soundtrack albums for Honeymoon in Vegas, Sleepless in Seattle, Forrest Gump and Judgement Night. In July 2011, L. A. Reid became the CEO of Epic Records, signing artists such as TLC, Toni Braxton, Cher Lloyd, Avril Lavigne, Future, Yo Gotti, Meghan Trainor, DJ Khaled and Travis Scott. Epic signed the winners of The X Factor during the seasons that Reid appeared on the show. In 2013, Sylvia Rhone, former president of Universal Motown, launched the imprint Vested In Culture through Epic Records. A year she was named president of the label. In November 2014, Mosley Music Group created
New wave music
New wave is a genre of rock music popular in the late 1970s and the 1980s with ties to mid-1970s punk rock. New wave moved away from blues and rock and roll sounds to create rock music or pop music that incorporated disco and electronic music. New wave was similar to punk rock, before becoming a distinct genre, it subsequently engendered fusions, including synth-pop. New wave differs from other movements with ties to first-wave punk as it displays characteristics common to pop music, rather than the more "artsy" post-punk. Although it incorporates much of the original punk rock sound and ethos, new wave exhibits greater complexity in both music and lyrics. Common characteristics of new wave music include the use of synthesizers and electronic productions, a distinctive visual style featured in music videos and fashion. New wave has been called one of the definitive genres of the 1980s, after it was promoted by MTV; the popularity of several new wave artists is attributed to their exposure on the channel.
In the mid-1980s, differences between new wave and other music genres began to blur. New wave has enjoyed resurgences since the 1990s, after a rising "nostalgia" for several new wave-influenced artists. Subsequently, the genre influenced other genres. During the 2000s, a number of acts, such as the Strokes, Franz Ferdinand and The Killers explored new wave and post-punk influences; these acts were sometimes labeled "new wave of new wave". The catch-all nature of new wave music has been a source of much controversy; the 1985 discography Who's New Wave in Music listed artists in over 130 separate categories. The New Rolling Stone Encyclopedia of Rock calls the term "virtually meaningless", while AllMusic mentions "stylistic diversity". New wave first emerged as a rock genre in the early 1970s, used by critics including Nick Kent and Dave Marsh to classify such New York-based groups as the Velvet Underground and New York Dolls, it gained currency beginning in 1976 when it appeared in UK punk fanzines such as Sniffin' Glue and newsagent music weeklies such as Melody Maker and New Musical Express.
In November 1976 Caroline Coon used Malcolm McLaren's term "new wave" to designate music by bands not punk, but related to the same musical scene. The term was used in that sense by music journalist Charles Shaar Murray in his comments about the Boomtown Rats. For a period of time in 1976 and 1977, the terms new wave and punk were somewhat interchangeable. By the end of 1977, "new wave" had replaced "punk" as the definition for new underground music in the UK. In the United States, Sire Records chairman Seymour Stein, believing that the term "punk" would mean poor sales for Sire's acts who had played the club CBGB, launched a "Don't Call It Punk" campaign designed to replace the term with "new wave"; as radio consultants in the United States had advised their clients that punk rock was a fad, they settled on the term "new wave". Like the filmmakers of the French new wave movement, its new artists were anti-corporate and experimental. At first, most U. S. writers used the term "new wave" for British punk acts.
Starting in December 1976, The New York Rocker, suspicious of the term "punk", became the first American journal to enthusiastically use the term starting with British acts appropriating it to acts associated with the CBGB scene. Part of what attracted Stein and others to new wave was the music's stripped back style and upbeat tempos, which they viewed as a much needed return to the energetic rush of rock and roll and 1960s rock that had dwindled in the 1970s with the ascendance of overblown progressive rock and stadium spectacles. Music historian Vernon Joynson claimed that new wave emerged in the UK in late 1976, when many bands began disassociating themselves from punk. Music that followed the anarchic garage band ethos of the Sex Pistols was distinguished as "punk", while music that tended toward experimentation, lyrical complexity or more polished production, came to be categorized as "new wave". In the U. S. the first new wavers were the not-so-punk acts associated with the New York club CBGB.
CBGB owner Hilly Kristal, referring to the first show of the band Television at his club in March 1974, said, "I think of that as the beginning of new wave." Furthermore, many artists who would have been classified as punk were termed new wave. A 1977 Phonogram Records compilation album of the same name features US artists including the Dead Boys, Talking Heads and the Runaways. New wave is much more tied to punk, came and went more in the United Kingdom than in the United States. At the time punk began, it was a major phenomenon in the United Kingdom and a minor one in the United States, thus when new wave acts started getting noticed in America, punk meant little to the mainstream audience and it was common for rock clubs and discos to play British dance mixes and videos between live sets by American guitar acts. Post-punk music developments in the UK were considered unique cultural events. By the early 1980s, British journalists had abandoned the term "new wave" in favor of subgenre terms such as "synthpop".
By 1983, the term of choice for the US music industry had become "new music", while to the majority of US fans it was still a "new wave" reacting to album-based rock. New wave died out in the mid-1980s, knocked out by guitar-driven rock reacting against new wave. In the 21st-century United States, "new wave" was used to describe ar
Herbs are a multi-cultural New Zealand reggae group, which since its foundation has featured Samoans, Cook Islanders and Maori members. 11th inductee into the New Zealand Music Hall of Fame, they formed in 1979, were once described as "New Zealand's most soulful and consistent contemporary musical voice". It has been said their debut EP Whats' Be Happen? "set a standard for Pacific reggae which has arguably never been surpassed". The band has always been political, with links to the Polynesian Panthers and the cover of Whats' Be Happen being an aerial photo of police action at Bastion Point in 1978; as well as race relations, the band took a strong stance on nuclear weapons in the Pacific with "French Letter". Herbs produced a stream of reggae hits with some of the country's top talent. In the 1980s and the first half of the'90s, Herbs had 10 top 20 singles hits. Herbs worked alongside UB40, Taj Mahal, Tina Turner, Neil Young, George Benson and Stevie Wonder. Though upbeat, Herbs' music is clear in its messages.
Their 1982 New Zealand hit "French Letter", which spent 11 weeks on the charts, came to express New Zealand's anti-nuclear stance. Fourteen years it was re-recorded to garner support for the prevention of nuclear testing at Mururoa. "No Nukes", "Nuclear Waste" and "Light of the Pacific" expressed much the same sentiment. Herbs' third release and first full album Long Ago, which featured the 1984 single of the same name, was produced by well-known New Zealand bass player Billy Kristian. In 1986, former Be-Bop Deluxe bassist/vocalist Charlie Tumahai joined the group, having been a session musician for various international acts. In 1986, "Slice of Heaven" with Dave Dobbyn reached number one on both the New Zealand and Australian charts. In 1989, Tim Finn joined them for "Parihaka" and, in 1992, Annie Crummer fronted the hit single "See What Love Can Do". Around this time the band forged into producing, providing instrumentation for Samoan singing sensation, John Parker; the album titled Another Girl produced a local hit, a reggae-funk inspired cover of the maori folk song "E Papa".
In 1989, the band was assisted by Eagles member Joe Walsh, who produced, played slide guitar and sung on the band's Homegrown album, which featured a cover of "Walk Away Renee" recorded by The Left Banke. Walsh announced he had joined Herbs. Walsh gives credit to the members taking him to'the ruins at Hawke's Bay', where he had'a moment of clarity' – for inspiring him to pursue sobriety, they provided two songs to the 1990 film, The Shrimp on the Barbie: A cover of the Peggy Lee song "Mañana" and "Listen". Herbs are considered pioneers of the Pacific reggae sound, having paved the way for contemporary New Zealand reggae groups such as Fat Freddy's Drop and Trinity Roots. Although their last album of new material was released in 1990, Herbs still perform in New Zealand and Australia, with guitarist Dilworth Karaka the last remaining member of the original line-up that released Whats' Be Happen? in 1981. Of the 2013 line-up, keyboardist Tama Lundon and percussionist Thom Nepia remain from the band's late 1980s commercial peak.
"Homegrown" is featured on the soundtrack of Once Were Warriors. Tama Renata died in November 2018. Other former membersDave Pou – bass guitar John Berkley – bass guitar Alan Foulkes – percussion Kristen Hapi – drums Juanito Muzzio – percussion Grant Pukeroa – vocals/drums Max Hohepa – vocals/bass guitar Lionel Nelson – vocals Ned Webster – drums Ryan Monga – drums Toni Fonoti – vocals/percussion Spencer Fusimalohi – vocals/guitar Fred Faleauto – vocals/drums Dave Pou – bass guitar John Berkley – bass guitar Phil Toms – vocals/bass guitar Morrie Watene – vocals/saxophone Alan Foulkes – percussion Carl Perkins – vocals/percussion Jack Allen – vocals/bass guitar Willie Hona – vocals/guitar Charlie Tumahai – vocals/bass guitar Gordon Joll – drums Joe Walsh – vocals/guitar Kristen Hapi – drums Juanito Muzzio – percussion Grant Pukeroa – vocals/drums Max Hohepa – vocals/bass guitar Lionel Nelson – vocals Ned Webster – drums Ryan Monga – drums Tama Renata – vocals/guitar The New Zealand Music Awards are awarded annually by the RIANZ in New Zealand
Th' Dudes were a late 1970s / early 1980s pop/rock band from Auckland, New Zealand. Hits include "Walking in Light", "Right First Time", " Be Mine Tonight" and "Bliss". Dave Dobbyn - vocals, guitars Ian Morris - guitars, backing vocals Peter Urlich- drums Peter Coleman, - bass Bruce Hambling - drums The band was formed by Morris, Urlich and Dobbyn, students at Sacred Heart College in Auckland, the same school that Neil and Tim Finn went to; the band name derived from the "Lone Groover" comic strip in the English music paper, NME. The band's sound was influenced by the British scene The Beatles, David Bowie and The Rolling Stones, by the Punk and New Wave sounds of Iggy Pop, Elvis Costello, Nick Lowe, Roxy Music, The Stranglers and The Clash. Starting off as a covers band that played surf clubs and private parties, Th' Dudes earned a reputation as an energetic and skilful outfit featuring dual guitar work from Dobbyn and Morris, a tight no-nonsense rhythm section and charismatic vocalist Urlich.
The repertoire featured more originals and their status rose to the point where Th' Dudes were acclaimed NZ Group of the Year in 1979. They disbanded in mid 1980; the mid-1990s saw a resurgence of interest in Th' Dudes in New Zealand as "classic hits" and "classic rock" radio became more prevalent, the compositional and production qualities of the band's records endured. Bliss: 20 Essential New Zealand Classics and other compilations showcased New Zealand post-punk acts which epitomized the Kiwi rock genre, their song, "Bliss", attained particular popularity and has since established itself as New Zealand's unofficial national drinking song. The song is commonly played following the dismissal of an opposing batsman at New Zealand national cricket games. In October 2006 Th' Dudes embarked on a tour of New Zealand as part of Radio Hauraki's 40th anniversary celebrations; the original tour was 11 dates, but expanded to 17 shows due to demand. Due to a dispute with the holders of the band's master tapes, Stebbing Studios Ltd, the band was unable to release any product to support the tour.
Instead, they compiled a six-track CD of demo and alternate versions of their biggest hits, culled from the band's own collections. This CD was available only at shows on the tour and was called Pubs, Theatres, Church Halls, Lounges & Band Rotundas. In late 2007 Th' Dudes embarked on the "Summer of Love" tour of popular NZ holiday destinations: Mangawhai. Chances of the band doing more any shows are said to be "very slim". In 2008 the band sued Stebbing Studios for non-payment of royalties; the band sought to show that they were not paid royalties for sales of their music due to their songs being recorded in downtime at Stebbing, while studio owner Eldred Stebbing claimed production costs had not been met. The dispute was resolved to both parties' mutual satisfaction in November 2008. Ian Morris died in Napier on 7 October 2010. Prior to his death Morris produced records and wrote advertising music, after having had a brief solo career under the stage name Tex Pistol. Morris is survived by his twin daughters Maude.
National Music Awards 1979 -'Top Group' National Music Awards 1979 -'Single Of The Year' for "Be Mine Tonight" Winners, 1976 Battle of the Bands Albums: Th' Dudes' songs have appeared on many compilations in New Zealand. The following is a partial list of these albums: - Bliss - "Be Mine Tonight" & "Bliss". - Bliss Volume 2 - "Right First Time" & "Tonight Again". - The Best Beer Drinking Songs In The World Ever! - "Bliss". - 100% Kiwi Rock - "Bliss". - Heart Attack - "Walking In Light". - Nature's Best - "Be Mine Tonight". - Nature's Best 2 - "Bliss". - Nature's Best A Video Selection - "Be Mine Tonight" & "Bliss". - Give It A Whirl: The Soundtrack From The Major Television Series - "Right First Time". Th' Dudes homepage AudioCulture Th' Dudes Biography Th' Dudes at muzic.net.nz Th' Dudes at last.fm NZ Music survey