A&M Records was an American record label founded as an independent company by Herb Alpert and Jerry Moss in 1962. Due to the success of the discography A&M released, the label garnered interest and was acquired by PolyGram in 1989 and began distributing releases from Polydor Ltd. from the UK. Throughout its operations, A&M housed well-known acts such as Joe Cocker, Procol Harum, Captain & Tennille, Sergio Mendes, Ozark Mountain Daredevils, Bryan Adams, Burt Bacharach, Liza Minnelli, The Carpenters, Paul Williams, Janet Jackson, Cat Stevens, Peter Frampton, Elkie Brooks, Carole King, Extreme, Amy Grant, Joan Baez, the Human League, The Police, CeCe Peniston, Blues Traveler, Soundgarden and Sheryl Crow. PolyGram was acquired by Seagram and dissolved into Universal Music Group in 1998, A&M's operations were ceased in January 1999 when it was merged with Geffen Records and Interscope Records to form the record company Interscope Geffen A&M Records. In 2007, Interscope Geffen A&M announced that A&M was revived as trademark and brand and was to be merged with Octone Records to form A&M Octone Records, which operated until 2013, when A&M Octone was folded into Interscope.
Today, A&M's catalog releases are managed by Verve Records, Universal Music Enterprises and Interscope. A&M Records was formed in 1962 by Jerry Moss, their first choice for a name was Carnival Records, under which they released two singles before discovering that another label had taken the Carnival name. The company was subsequently renamed Moss's initials. From 1966 to 1999, the company's headquarters were on the grounds of the historic Charlie Chaplin Studios at 1416 North La Brea Avenue, near Sunset Boulevard in Hollywood. Throughout the 1960s and 1970s, A&M had such acts as Herb Alpert & the Tijuana Brass, Baja Marimba Band, Burt Bacharach, Sérgio Mendes & Brasil ’66, the Sandpipers, Boyce & Hart, We Five, the Carpenters, Chris Montez, Elkie Brooks, Lee Michaels and Tennille, the Flying Burrito Brothers, Quincy Jones, Lucille Starr, Stealers Wheel and Lyle, Barry DeVorzon, Perry Botkin, Jr. Marc Benno, Liza Minnelli, Rita Coolidge, Gino Vannelli, Wes Montgomery, Paul Desmond, Bobby Tench, Toni Basil, Paul Williams.
Folk artists Joan Baez, Phil Ochs and Gene Clark recorded for the label during the 1970s. Billy Preston joined the label in 1971, followed by Andre Popp and Herb Ohta in 1973. In the late 1960s, through direct signing and licensing agreements, A&M added several British artists to its roster, including Cat Stevens, Joe Cocker, Procol Harum, Humble Pie, Fairport Convention, the Move and Spooky Tooth. In the 1970s, under its manufacturing and distribution agreement with Ode Records, A&M released albums by Carole King and the comedy duo Cheech & Chong. Other notable acts of the time included Nazareth, Y&T, the Tubes, Supertramp, Joan Armatrading and James, Chris de Burgh, Rick Wakeman, the Ozark Mountain Daredevils, Chuck Mangione and Peter Frampton. On March 10, 1977, A&M signed the Sex Pistols after the band had been dropped by EMI. However, A&M dropped the band within a week. A&M sustained its success during the 1980s with a roster of noted acts that included Orchestral Manoeuvres in the Dark, Henry Badowski, Janet Jackson, the Police, the Brothers Johnson, Atlantic Starr, the Go-Go's, Bryan Adams, Suzanne Vega, Brenda Russell, Jeffrey Osborne, Oingo Boingo, the Human League, Ozark Mountain Daredevils, Lois & Bram, Annabel Lamb, Jim Diamond, Vital Signs, Joe Jackson, Scottish rock band Gun.
They through a deal with Christian music label Myrrh, distributed back catalog recordings of Amy Grant as well as her new recordings, starting with 1985's Unguarded, to the mainstream marketplace, a vital component in her subsequent breakthrough as a mainstream artist. Within a decade of its inception, A&M became the world's largest independent record company. A&M releases were issued in the United Kingdom by EMI's Stateside Records label, under its own name by Pye Records, who released the first Herb Alpert records on the Pye International label before issuing the records on the A&M label until 1967. From 1969, A&M set up its own UK base appointing John Deacon as General Manager - a post he held until 1979. Several A&R men were recruited including Larry Yaskiel and Derek Green and major UK acts such as the Police, Rick Wakeman, Gallagher & Lyle, Elkie Brooks, the Strawbs and Peter Frampton as well as many others were all signed to the UK label. A&M releases were issued in Australia through Festival Records until 1989.
A&M Records Ltd. was established in 1970, with distribution handled by other labels with a presence in Europe. A&M Records of Canada Ltd. was formed in 1970, A&M Records of Europe in 1977. In 1979, A&M entered a distribution agreement with RCA Records in the US, with CBS Records in many other countries. Over the years, A&M added specialty imprints: Almo International for middle of the road. A&M was bought by PolyGram in 1989. Alpert and Moss continued to manage the label until 1993. In 1998, Alpert and Moss sued PolyGram for breach of the integrity clause settling for an additional $200 million payment. In 1991, A&M launched Perspective Records as a joint venture with producing team Jimmy Jam and Terry Lewis. Jam and Lewis stepped down as CEOs of the imprint in 1997. In 1999, t
Blues is a music genre and musical form, originated in the Deep South of the United States around the 1870s by African Americans from roots in African musical traditions, African-American work songs and the folk music of white Americans of European heritage. Blues incorporated spirituals, work songs, field hollers, shouts and rhymed simple narrative ballads; the blues form, ubiquitous in jazz and blues and rock and roll, is characterized by the call-and-response pattern, the blues scale and specific chord progressions, of which the twelve-bar blues is the most common. Blue notes thirds or fifths flattened in pitch, are an essential part of the sound. Blues shuffles or walking bass reinforce the trance-like rhythm and form a repetitive effect known as the groove. Blues as a genre is characterized by its lyrics, bass lines, instrumentation. Early traditional blues verses consisted of a single line repeated four times, it was only in the first decades of the 20th century that the most common current structure became standard: the AAB pattern, consisting of a line sung over the four first bars, its repetition over the next four, a longer concluding line over the last bars.
Early blues took the form of a loose narrative relating the racial discrimination and other challenges experienced by African-Americans. Many elements, such as the call-and-response format and the use of blue notes, can be traced back to the music of Africa; the origins of the blues are closely related to the religious music of the Afro-American community, the spirituals. The first appearance of the blues is dated to after the ending of slavery and the development of juke joints, it is associated with the newly acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th century; the first publication of blues sheet music was in 1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a wide variety of styles and subgenres. Blues subgenres include country blues, such as Delta blues and Piedmont blues, as well as urban blues styles such as Chicago blues and West Coast blues. World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience white listeners.
In the 1960s and 1970s, a hybrid form called blues rock developed, which blended blues styles with rock music. The term Blues may have come from "blue devils", meaning sadness; the phrase blue devils may have been derived from Britain in the 1600s, when the term referred to the "intense visual hallucinations that can accompany severe alcohol withdrawal". As time went on, the phrase lost the reference to devils, "it came to mean a state of agitation or depression." By the 1800s in the United States, the term blues was associated with drinking alcohol, a meaning which survives in the phrase blue law, which prohibits the sale of alcohol on Sunday. Though the use of the phrase in African-American music may be older, it has been attested to in print since 1912, when Hart Wand's "Dallas Blues" became the first copyrighted blues composition. In lyrics the phrase is used to describe a depressed mood, it is in this sense of a sad state of mind that one of the earliest recorded references to "the blues" was written by Charlotte Forten aged 25, in her diary on December 14, 1862.
She was a free-born black from Pennsylvania, working as a schoolteacher in South Carolina, instructing both slaves and freedmen, wrote that she "came home with the blues" because she felt lonesome and pitied herself. She overcame her depression and noted a number of songs, such as Poor Rosy, that were popular among the slaves. Although she admitted being unable to describe the manner of singing she heard, Forten wrote that the songs "can't be sung without a full heart and a troubled spirit", conditions that have inspired countless blues songs; the lyrics of early traditional blues verses often consisted of a single line repeated four times. It was only in the first decades of the 20th century that the most common current structure became standard: the so-called "AAB" pattern, consisting of a line sung over the four first bars, its repetition over the next four, a longer concluding line over the last bars. Two of the first published blues songs, "Dallas Blues" and "Saint Louis Blues", were 12-bar blues with the AAB lyric structure.
W. C. Handy wrote; the lines are sung following a pattern closer to rhythmic talk than to a melody. Early blues took the form of a loose narrative. African-American singers voiced his or her "personal woes in a world of harsh reality: a lost love, the cruelty of police officers, oppression at the hands of white folk, hard times"; this melancholy has led to the suggestion of an Igbo origin for blues because of the reputation the Igbo had throughout plantations in the Americas for their melancholic music and outlook on life when they were enslaved. The lyrics relate troubles experienced within African American society. For instance Blind Lemon Jefferson's "Rising High Water Blues" tells of the Great Mississippi Flood of 1927: "Backwater rising, Southern peoples can't make no time I said, backwater rising, Southern peoples can't make no time And I can't get no hearing from that Memphis girl of mine."Although the blues gained an association with misery and oppression, the lyrics could be humorous and raunchy: "Rebecca, get your big legs off of me, Rebecca, get your big legs off of m
Rich Man's Woman
Rich Man's Woman is the first album by Elkie Brooks. Brooks' first solo album was released in 1975 in a blaze of publicity and a promotional week at Ronnie Scott's Jazz Club in London. Recorded as a rock album in the vein of her work with Vinegar Joe, A&M Records were unhappy with the direction and decided to tone the album down, producing unsatisfactory results and an album in which Brooks lost faith; the picture sleeve featuring a semi-naked Brooks caused outrage at the time and remains controversial. Despite an initial marketing campaign, both A&M and Elkie decided to stop promoting the work and to focus on her follow-up album, Two Days Away; the album has been released coupled with its successor Two Days Away. "Where Do We Go From Here" "He's a Rebel" Recorded 1975 at The Record Plant in Los Angeles, USA. Mastered at A&M Recording Studios in Hollywood, USA. Issued on vinyl and cassette in 1975 through A&M Records. Re-released in 1985 on CD, vinyl and cassette through Pickwick Records. Rich Man's Woman failed to enter the UK album charts.
All tracks composed by Elkie Brooks.
Shooting Star (Elkie Brooks album)
Shooting Star is an album by Elkie Brooks. Brooks' third album was a departure from her previous work and enjoyed relative success in the UK charts. Taking the place of Leiber & Stoller was renowned producer David Kershenbaum who guided Brooks along a more funk-orientated sound than on her previous work; the album has been released on CD, paired with Learn. "Only Love Can Break Your Heart" "Since You Went Away" "Stay With Me" Recorded in 1978 at CBS Studios in London, at Producers Workshop in Los Angeles, USA. Mastered at A&M Studios in Los Angeles. Issued on vinyl and cassette in 1978 through A&M Records. Shooting Star remained in the UK charts for 13 weeks. "Only Love Can Break Your Heart" - 3:07 "Be Positive" - 3:50 "Since You Went Away" - 3:44 "Putting My Heart On The Line" - 3:11 "Stay With Me" - 3:04 "As" - 4:15 "Learn To Love" - 4:04 "Too Precious" - 4:25 "Shooting Star" - 2:50 "Just An Excuse" - 3:38 Elkie Brooks – vocals Elliott Randall - guitars Jean Roussel - keyboards Andy Newmark - drums Jerry Knight - bass, backing vocals Pete Gage - guitars Simon Morton - percussion Mike Ross, Andrew Clark, Mark Smith, Ed Schaff - engineering Bernie Grundman - mastering David Kershenbaum - production
The Beach Boys
The Beach Boys are an American rock band formed in Hawthorne, California, in 1961. The group's original lineup consisted of brothers Brian and Carl Wilson, their cousin Mike Love, their friend Al Jardine. Distinguished by their vocal harmonies and early surf songs, they are one of the most influential acts of the rock era; the band drew on the music of jazz-based vocal groups, 1950s rock and roll, black R&B to create their unique sound, with Brian as composer, producer, de facto leader, they incorporated classical elements and unconventional recording techniques in innovative ways. The Beach Boys began as an early garage band managed by the Wilsons' father Murry. In 1963, the band gained national prominence with a string of top-ten singles reflecting a southern California youth culture of surfing and romance dubbed the "California Sound". After 1964, they abandoned beachgoing themes for ambitious orchestrations. In 1966, the Pet Sounds album and "Good Vibrations" single raised the group's prestige as rock innovators and established the band as symbols of the nascent counterculture era.
Following the dissolution of the group's Smile project in 1967, Brian ceded production and songwriting duties to the rest of the band, reducing his input because of mental health and substance abuse issues. The group's commercial momentum subsequently faltered, despite efforts to maintain an experimental sound, they were dismissed by early rock critics as the archetypal "pop music cop-outs". Carl took over as the band's musical leader until the late 1970s, during which they rebounded as an successful live concert draw. Personal struggles, creative disagreements, the overshadowing success of the band's greatest hits albums precipitated their transition into an oldies act. Since the 1980s, much-publicized legal wrangling over royalties, songwriting credits and use of the band's name transpired. Dennis drowned in 1983 and Carl died of lung cancer in 1998. After Carl's death, the group and its corporation, Brother Records Inc, permitted Love to lead a touring band under the "Beach Boys" name. Though they have not performed together since their 2012 reunion tour, Brian and Love remain a part of BRI and as official members of the band.
The Beach Boys are one of the most critically acclaimed, commercially successful, influential bands of all time. They were one of the earliest self-contained rock bands and one of the few US bands who maintained their success before and after the 1964 British Invasion. Between the 1960s and 2010s, they had over eighty songs chart worldwide, thirty-six of them in the US Top 40, four reaching number-one on the Billboard Hot 100, they have sold in excess of 100 million records worldwide, making them one of the world's best-selling bands of all time, are ranked number 12 on Rolling Stone magazine's 2004 list of the "100 Greatest Artists of All Time". In 2017, a study of AllMusic's catalog indicated the Beach Boys as the sixth most cited artist influence in its database; the core quintet of the three Wilsons and Jardine was inducted into the Rock and Roll Hall of Fame in 1988. At the time of his sixteenth birthday on June 20, 1958, Brian Wilson shared a bedroom with his brothers and Carl – aged thirteen and eleven – in their family home in Hawthorne.
He had watched his father, Murry Wilson, play piano, had listened intently to the harmonies of vocal groups such as the Four Freshmen. After dissecting songs such as "Ivory Tower" and "Good News", Brian would teach family members how to sing the background harmonies. For his birthday that year, Brian received a reel-to-reel tape recorder, he learned how to overdub, using those of Carl and their mother. Brian played piano with Carl and David Marks, an eleven-year-old longtime neighbor, playing guitars they had each received as Christmas presents. Soon Brian and Carl were avidly listening to Johnny Otis' KFOX radio show. Inspired by the simple structure and vocals of the rhythm and blues songs he heard, Brian changed his piano-playing style and started writing songs. Family gatherings brought the Wilsons in contact with cousin Mike Love. Brian taught a friend harmonies. Brian and two friends performed at Hawthorne High School. Brian knew Al Jardine, a high school classmate. Brian suggested to Jardine that they team up with his brother Carl.
Love gave the fledgling band its name: "The Pendletones", a pun on "Pendleton", a style of woolen shirt popular at the time. Dennis was the only avid surfer in the group, he suggested that the group write songs that celebrated the sport and the lifestyle that it had inspired in Southern California. Brian finished the song, titled "Surfin'", with Mike Love, wrote "Surfin' Safari". Murry recalled, "They had written a song called'Surfin',' which I never did like and still don't like, it was so rude and crude."Murry Wilson, a sometime songwriter, arranged for the Pendletones to meet his publisher Hite Morgan. He said: "Finally, agreed to hear it, Mrs. Morgan said'Drop everything, we're going to record your song. I think it's good.' And she's the one responsible." On September 15, 1961, the band recorded a demo of "Surfin'" with the Morgans. A more professional recording was made at World Pacific Studio in Hollywood. David Marks was not present at the session. Murry brought the demos to Herb Newman, owner of Candix Records and Era Records, he signed the group on December 8.
When the single was released a few weeks the band found that they had been renamed "the Beach Boys". Candix wanted to name the group the Surfers until Ru
Pearls (Elkie Brooks album)
Pearls is a 1981 album by Elkie Brooks. It is in part a compilation album, featuring earlier singles mixed with newly recorded material, it went on to become a major hit in the UK - the biggest of her career. With the relative disappointment of her previous album and Learn, A&M decided to release a compilation of her biggest hits and newly recorded material aimed at the middle of the road audience; the new material was produced by Elton John's producer Gus Dudgeon. Pearls peaked at #2 staying in the charts for 79 weeks, it was first released on CD in 1985. Pearls remains Brooks' biggest selling album. "Paint Your Pretty Picture" "Dance Away" "Warm and Tender Love" "Fool If You Think It's Over" Side One "Superstar" - "Fool" - "Givin' It Up For Your Love" - "Sunshine After the Rain" - "Warm and Tender Love" - "Lilac Wine" - Side Two "Pearl's a Singer" - "Don't Cry Out Loud" - "Too Busy Thinking About My Baby" - "If You Leave Me Now" - "Paint Your Pretty Picture" - "Dance Away" - Elkie Brooks - vocals Jean Roussel, Tim Hinkley, Mike Stoller - piano/keyboards Isaac Guillory, Jerry Friedmen, Eric Weissberg, Geoff Whitehorn, Martin Jenner - guitars Steve York, John Giblin, Jeremy Meek - bass guitar Trevor Morais, Graham Jarvis, Steve Holley - drums Pete Wingfield, Bruce Baxter - arrangement Graham Dickson - engineering Gus Dudgeon, Jerry Leiber & Mike Stoller, Mike Batt - production
Prestwich is a surburban town in the Metropolitan Borough of Bury, Greater Manchester, England, 3.3 miles north of Manchester city centre, 3.1 miles north of Salford and 4.7 miles south of Bury. Part of Lancashire, Prestwich was the seat of the ancient parish of Prestwich-cum-Oldham, in the hundred of Salfordshire; the Church of St Mary the Virgin—a Grade I listed building—has lain at the centre of the community for centuries. The oldest part of Prestwich, around Bury New Road, is known as Prestwich Village. There is a large Jewish community in Prestwich and Whitefield, neighbouring Broughton Park in Salford and sections of Cheetham Hill and Crumpsall, which form the second-largest Jewish community in the United Kingdom. Prestwich is of Old English origin, derived from preost and wic, which translates to the priest's farm. Another possible derivation is priest's retreat. Wic was a place-name element derived from place, its most common meaning is dairy-farm. The township was variously recorded as Prestwich in 1194, Prestwic in 1202 and Prestewic in 1203.
Bury New Road follows the line of a Roman road connecting forts at Mamucium and Bremetennacum. It is possible that a Roman fort or encampment was built at "Castle Hill", near the Salford border, mirroring an encampment on Rainsough Hill equidistant from the Roman road. John Booker B. A. 19th century author and curate of the parish church, considered these were agrarian camps built to protect cattle kept in the woods of Broughton and Kersal. The camp was "just to the right of the old road to Bury beyond Singleton Brook, on the first field in the Parish of Prestwich, known as Lowcaster". Roman coins have been found off Bury New Road, near Prestwich Golf Course and some in Prestwich Clough. A hoard of 65 silver coins from the reign of King Stephen was found in the Sedgley Park area in 1972; the Prestwich manor emerged in the Middle Ages and in 1212 was assessed as four oxgangs of land held by Adam de Prestwich whose father, Robert held it in 1193. The lord of the manor held the advowson for the church.
Another Adam de Prestwich settled the manors of Prestwich and Pendlebury on his son John in 1297 but remarried and in 1313 settled the same manors on Thomas de Prestwich, his son by second wife. Thomas de Prestwich had daughters, Margaret who became a nun at Seaton Priory in 1360, but left the convent to marry Robert de Holland, Agnes who married John de Radcliffe but died childless in 1362. Thomas de Prestwich granted his manors to Richard de Radcliffe for life and after that the manor was held by Richard de Langley. In 1371 Robert de Holland claimed the manor as the right of his wife. Roger de Langley was a minor and ward of the Duke of Lancaster in 1372 when Robert de Holland and a troop of armed men took possession of the manor by force and retained it until 1389; the Langleys regained the manor after 1403. After Sir Robert Langley's death in 1561 the manor passed to his daughter Margaret, who married John Reddish, their granddaughter Sarah married Clement Coke and the manor descended in the Coke family, until 1777, when Thomas William Coke, Coke of Norfolk, a leader in the agricultural revolution sold the land in Prestwich to increase his Norfolk estates.
The manor was acquired by Peter Drinkwater of Irwell House in 1794 and it descended to his son Thomas who died in 1861. Irwell House and Drinkwater Park was sold to Prestwich Council. In the hearth tax of 1666 there were 97 hearths in the township, the rector's house was the largest with ten. In the 17th and 18th centuries local government was based on the parish structure; the lord of the manor administered land tenure and inheritance, but law and order was kept by parish constables assisted by the church wardens. The local justices sat in the "Star Chamber" in the Ostrich Inn, now the Church Inn, close to the parish church where the justices' seat can still be seen; the village had stocks which remained in use until 1800. The settlement grew to serve the parish church making Church Lane the historic centre. In the late 18th century the area was rural with scattered farms and small settlements grew at Great and Little Heaton; the population was estimated at 670. Rooden Lane which became part of Bury Old Road was a centre for hand loom weaving and at Simister and neighbouring Bowlee, silk weaving was established.
During the 19th century another settlement grew around the junction of Fairfax Road and Bury New Road along with another village centre on Bury Old Road. The area between these centres remained rural, the arrival of the railway in 1881 encouraged affluent merchants from Manchester to build villas and move to the town. By 1912 the population had increased to 12,800, from the 1930s onwards the remaining fields were developed and by 1961 the population reached 31,000 and Prestwich had become a suburb of Manchester. Prestwich Hospital was built as an asylum in 1851 and by 1900 it had grown into the largest asylum in Europe. Prestwich was the ecclesiastical centre of Prestwich-cum-Oldham an ancient parish in the Salford Hundred of Lancashire, it was in Manchester Poor Law Union from 1841 to 1850 and the Prestwich PLU from 1850 to 1915 when it rejoined Manchester PLU until its abolition in 1930. In 1867 the Prestwich Local Board of Health was established which, as a result of the Local Government Act 1894, became Prestwich Urban District to which parts of Great and Little Heaton townships were added.
In 1903 Heaton Park was added to the City of Manchester and in 1933 part of the urban district west of the Irwell was added to Swinton and Pendlebury Urban District. Prestwich became a municipal borough in 1939. Under the Local Government Act 1972 it became an unparishe