See Emily Play
"See Emily Play" is a song by English rock band Pink Floyd, released as their second single in June 1967. Written by original frontman Syd Barrett and recorded on 23 May 1967, it featured "The Scarecrow" as its B-side, it was released as a non-album single, but appeared as the opening track of the American edition of their debut album The Piper at the Gates of Dawn. "See Emily Play" is included in The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll list and reached No. 6 in the United Kingdom singles chart. As of 2018, the song has never been mixed to stereo, so the US album version was rechannelled and all subsequent reissues have been in mono. "See Emily Play" is known as "Games for May", after a free concert in which Syd Barrett's Pink Floyd performed. The song was about a girl named Emily, who Barrett claimed to have seen while sleeping in the woods after taking a psychedelic drug. According to A Saucerful of Secrets: The Pink Floyd Odyssey, by Nicholas Schaffner, Emily is the Honourable Emily Young, daughter of Wayland Young, 2nd Baron Kennet, the sister of author Louisa Young, nicknamed "the psychedelic schoolgirl" at the UFO Club.
An article in Mojo magazine called "See the Real Emily" shows a picture of Barrett's Emily. It has been suggested by some that the slide guitar effect was produced by Barrett using a Zippo lighter, but elsewhere that he used a plastic ruler; the train depicted on the single's sleeve was drawn by Barrett. The details as to the recording remain shrouded in mystery due to the lack of paperwork in the EMI archive. Engineer Jeff Jarrett recalls that "See Emily Play" was recorded in a much longer form, edited down for the single release, it was recorded at Sound Techniques studios on 21 May 1967. There was much trickery involved in the recording with backward tapes, much use of echo and reverb, the first piano bridge between the first chorus and second verse was recorded at a slow pace sped up for the final master; the four-track master tape was misplaced. It no longer has never been mixed into true stereo. Barrett, was not happy with the final studio cut, he protested against its release, which producer Norman Smith speculated was based on his fear of commercialism.
During sessions for the song David Gilmour visited the studio, on Barrett's invitation, was shocked by the perceived changes in Barrett's personality when he did not appear to recognize him. For many years Gilmour would recall this, saying, "I'll go on record as saying, when he changed"; the US single was released by Tower Records three times between July 1967 and late 1968. Each time it failed to duplicate its UK success; the song only stayed in the band's set list for a few months, was last played on 25 November 1967 in Blackpool. "See Emily Play" appeared on a number of compilations: Relics, Shine On, Echoes: The Best of Pink Floyd, The Piper at the Gates of Dawn 40th Anniversary Edition, The Best of Pink Floyd: A Foot in the Door and The Early Years 1965–1972. The song was included on the Barrett retrospective An Introduction to Syd Barrett. Pink Floyd performed the song three times on BBC TV's Top of the Pops. On each occasion, they mimed to the single; the BBC wiped the shows. In late 2009 a badly damaged home video recording was recovered by the British Film Institute containing the first and third show the song was performed on, though only the first appearance was recoverable in part.
The first performance was on the 6 July 1967 edition hosted by Alan Freeman. Parts of this performance have been recovered from the damaged video recording, they returned for 13 July, hosted by Pete Murray. Barrett complained that the band shouldn't appear, because "John Lennon doesn't have to do Top of the Pops", he did without the enthusiasm of the previous week. The recoverable parts of the 6 July performance were given a public screening in London on 9 January 2010 at an event called "Missing Believed Wiped" devoted to recovered TV shows, it was the first time. The Pink Floyd management used a copy of the footage in The Early Years 1965–1972; the band were booked to appear on this edition of Beat-Club. Barrett had suffered "nervous exhaustion" and the band decided to take a month-long break in the hope his health would recover; the appearance thus had to be cancelled. In 1968, Pink Floyd travelled to Belgium where they filmed a TV special for the Dutch language television programme Tienerklanken.
Erroneously titled "Pink Floid", this special featured lip-synched promotional films for "See Emily Play", as well as for "Astronomy Domine", "The Scarecrow", "Apples and Oranges", "Paint Box", "Set the Controls for the Heart of the Sun", "Corporal Clegg". This was Gilmour's first TV work with the band. Barrett was still technically a member of the band but it had been decided to no longer include him in gigs and shows. Gilmour, Roger Waters and Rick Wright thus had to mime to Barrett's vocals. Part of the vocal melody was played on a Minimoog by Rick Wright at the end of "Shine On You Crazy Diamond" at the end of 1975's Wish You Were Here, as a tribute to Barrett. "See Emily Play" has been covered by Canadian group Three to One on the 1967 Yorkville album CTV After Four.
Yesterday's Hero (John Paul Young song)
"Yesterday's Hero" is a pop song by John Paul Young. The song was written by George Young and Harry Vanda and was released in February 1975 as the lead single from Young's debut studio album, Hero; the song became a worldwide hit, peaking at No. 8 in Australia, No. 1 in South Africa and No. 41 in the United States. "Yesterday's Hero" is a song about the fleeting nature of pop stardom. It drew on Young's own experiences as former teen idols; the song gave Young his first top ten hit, reaching No. 8 on the Australian singles chart and staying at No. 1 on the Melbourne charts for six weeks before being replaced by Hush's "Boney Maroney". The single sold in the United States, where it reached No. 44 on the Cash Box Top 100 in February 1976. One of the key factors in the Australian success of "Yesterday's Hero" was the film clip made to promote it, which enabled the song to be given heavy exposure on Countdown, which had just switched to its new one-hour Sunday evening format, following the official start of colour TV broadcasting on 1 March 1975.
Young's debut performance on Countdown had him miming "Yesterday's Hero" while dressed in a sailor's suit surrounded on an island stage with a studio audience of screaming teen girls. He was dragged off the stage three times by audience members and the microphone cord was ripped out but the song continued uninterrupted. ABC TV producer, Michael Shrimpton believes his show, played a big part in making "Yesterday's Hero" and Young a teen pop success. 7" / Side A "Yesterday's Hero" - 3:43 Side B "The Next Time" - 3:30 Bay City Rollers Gene Pitney did not cover this song. It was released 10 years earlier. Ignatius Jones Serbian band Laki Pingvini covered the song as "Ne, nisam tvoj heroj" on album "Muzika za mlade" 1984
Anthony Neil Wedgwood Benn known as Anthony Wedgwood Benn, but as Tony Benn, was a British politician and diarist. He was a Member of Parliament for 47 years between the 1950 and 2001 general elections and a Cabinet minister in the Labour governments of Harold Wilson and James Callaghan in the 1960s and 1970s. A moderate, he was identified as being on the party's hard left from the early 1980s, was seen as a key proponent of democratic socialism within the party. Benn inherited a peerage on his father's death, which prevented his continuing as an MP, he fought to remain in the House of Commons, campaigned for the ability to renounce the title, a campaign which succeeded with the Peerage Act 1963. He was an active member of the Fabian Society and was its Chairman from 1964 until 1965. In the Labour Government of 1964–70 he served first as Postmaster General, where he oversaw the opening of the Post Office Tower, as a "technocratic" Minister of Technology, he served as Chairman of the Labour Party in 1971–72 while in opposition, in the Labour Government of 1974–1979, he returned to the Cabinet as Secretary of State for Industry, before being made Secretary of State for Energy, retaining his post when James Callaghan replaced Wilson as Prime Minister.
When the Labour Party was again in opposition through the 1980s, he emerged as a prominent figure on its left wing and the term "Bennite" came into currency as someone associated with radical left-wing politics. He unsuccessfully challenged Neil Kinnock for the Labour leadership in 1988. Benn was described as "one of the few UK politicians to have become more left-wing after holding ministerial office". After leaving Parliament, Benn was President of the Stop the War Coalition from 2001 until his death in 2014. Benn was born in Westminster, London on 3 April 1925, he had two brothers, killed in the Second World War, David, a specialist in Russia and Eastern Europe. After the Thames flood in January 1928 their house was uninhabitable so the Benn family moved to Scotland for over 12 months, their father, William Wedgwood Benn, was a Liberal Member of Parliament from 1906 who crossed the floor to the Labour Party in 1928 and was appointed Secretary of State for India by Ramsay MacDonald in 1929, a position he held until the Labour Party's landslide electoral defeat in 1931.
William Benn was elevated to the House of Lords and Tony Benn was subsequently titled with the honorific prefix, The Honourable. William Benn was given the title of Viscount Stansgate in 1942: the new wartime coalition government was short of working Labour peers in the upper house. In 1945–46, William Benn was the Secretary of State for Air in the first majority Labour Government. Benn's mother, Margaret Wedgwood Benn, was a theologian and the founder President of the Congregational Federation, she was a member of the League of the Church Militant, the predecessor of the Movement for the Ordination of Women. His mother's theology had a profound influence on Benn, as she taught him that the stories in the Bible were based around the struggle between the prophets and the kings and that he ought in his life to support the prophets over the kings, who had power, as the prophets taught righteousness. Benn asserted that the teachings of Jesus Christ had a "radical political importance" on his life, made a distinction between the historical Jesus as "a carpenter of Nazareth" who advocated social justice and egalitarianism and "the way in which he's presented by some religious authorities.
He believed that it was a "great mistake" to assume that the teachings of Christianity are outdated in modern Britain, Higgins wrote in The Benn Inheritance that Benn was "a socialist whose political commitment owes much more to the teaching of Jesus than the writing of Marx". In his life, Benn emphasised issues regarding morality and righteousness, as well as various ethical principles of Nonconformism. "I've never thought we can understand the world we lived in unless we understood the history of the church", Benn said to the Catholic Herald. "All political freedoms were won, first of all, through religious freedom. Some of the arguments about the control of the media today, which are big arguments, are the arguments that would have been fought in the religious wars. You have the satellites coming in now—well, it is the multinational church all over again. That's why Mrs Thatcher pulled Britain out of UNESCO: she was not prepared, any more than Ronald Reagan was, to be part of an organisation that talked about a New World Information Order, people speaking to each other without the help of Murdoch or Maxwell."According to Peter Wilby in the New Statesman, Benn "decided to do without the paraphernalia and doctrine of organised religion but not without the teachings of Jesus".
Although Benn became more agnostic as he became older, he was intrigued by the interconnections between Christianity and socialism. Wilby wrote in The Guardian that although former Chancellor Stafford Cripps described Benn as "as keen a Christian as I am myself", Benn wrote in 2005 that he was "a Christian agnostic" who believed "in Jesus the prophet, not Christ the king" rejecting the label of "humanist". Both of Benn's grandfathers were Liberal Party MPs.
Saturday Night (Bay City Rollers song)
"Saturday Night" is a song recorded by the Scottish pop rock band Bay City Rollers. It was produced by Bill Martin and Phil Coulter; the tune is an upbeat pop rock number with a memorable hook, in which the word "Saturday" is spelled out in a rhythmic, enthusiastic chant. The original version of the song was recorded and released in the UK in 1973 but did not hit the charts; the original version was sung by Nobby Clark. At the end of 1975, "Saturday Night" was released in America and hit the number-one spot in January 1976, it was the first Billboard #1 of the US Bicentennial year. The song had been re-recorded for the Rollers' 1974 UK album Rollin' with lead vocals by Les McKeown, Nobby's replacement; the single reached number one on the RPM Canadian Singles Chart listing on 10 January 1976. This is the band's sole No. 1 hit in the United States. The song was used in Netlix's Umbrella Academy series; the song was covered by English rock band Ned's Atomic Dustbin for the Mike Myers 1993 romantic comedy film So I Married an Axe Murderer.
The song appears on the soundtrack album. Canadian hard rock band Monster Truck covered the song for the 2017-2018 season of Hockey Night in Canada. The'Hey! Ho! Let's Go' chant in "Blitzkrieg Bop" by the Ramones was according to Tommy Ramone inspired by "Saturday Night". Canadian rock band Simple Plan's 2015 song "Saturday" interpolates the opening "S-A-T-U-R-D-A-Y Night" chant from the Bay City Rollers song in several parts. Production – Bill Martin & Phil Coulter, Phil Wainman Lyrics of this song at MetroLyrics "Saturday Night" – Bay City Rollers video clip on YouTube "Saturday Night" at Discogs Ned's Atomic Dustbin cover
The viola is a string instrument, bowed or played with varying techniques. It is larger than a violin and has a lower and deeper sound. Since the 18th century, it has been the middle or alto voice of the violin family, between the violin and the cello; the strings from low to high are tuned to C3, G3, D4, A4. In the past, the viola varied in style, as did its names; the word viola originates from Italian. The Italians used the term: "viola da braccio" meaning literally:'of the arm'. "Brazzo" was another Italian word for the viola. The French had their own names: cinquiesme was a small viola, haute contre was a large viola, taile was a tenor. Today, the French use the term alto, a reference to its range; the viola was popular in the heyday of five-part harmony, up until the eighteenth century, taking three lines of the harmony and playing the melody line. Music for the viola differs from most other instruments in that it uses the alto clef; when viola music has substantial sections in a higher register, it switches to the treble clef to make it easier to read.
The viola plays the "inner voices" in string quartets and symphonic writing, it is more than the first violin to play accompaniment parts. The viola plays a major, soloistic role in orchestral music. Examples include the symphonic poem Don Quixote by Richard Strauss and the symphony Harold en Italie by Hector Berlioz. In the earlier part of the 20th century, more composers began to write for the viola, encouraged by the emergence of specialized soloists such as Lionel Tertis and William Primrose. English composers Arthur Bliss, York Bowen, Benjamin Dale, Frank Bridge, Benjamin Britten and Ralph Vaughan Williams all wrote substantial chamber and concert works. Many of these pieces were written for Lionel Tertis. William Walton, Bohuslav Martinů, Toru Takemitsu, Tibor Serly, Alfred Schnittke, Béla Bartók have written well-known viola concertos. Paul Hindemith, a violist, wrote a substantial amount of music for viola, including the concerto Der Schwanendreher; the concerti by Paul Hindemith, Béla Bartók, William Walton are considered the "big three" of viola repertoire.
The viola is similar in construction to the violin. A full-size viola's body is between 25 mm and 100 mm longer than the body of a full-size violin, with an average length of 41 cm. Small violas made for children start at 30 cm, equivalent to a half-size violin. For a child who needs a smaller size, a fractional-sized violin is strung with the strings of a viola. Unlike the violin, the viola does not have a standard full size; the body of a viola would need to measure about 51 cm long to match the acoustics of a violin, making it impractical to play in the same manner as the violin. For centuries, viola makers have experimented with the size and shape of the viola adjusting proportions or shape to make a lighter instrument with shorter string lengths, but with a large enough sound box to retain the viola sound. Prior to the eighteenth century, violas had no uniform size. Large violas were designed to play the lower register viola lines or second viola in five part harmony depending on instrumentation.
A smaller viola, nearer the size of the violin, was called an alto viola. It was more suited to higher register writing, as in the viola 1 parts, as their sound was richer in the upper register, its size was not as conducive to a full tone in the lower register. Several experiments have intended to increase the size of the viola to improve its sound. Hermann Ritter's viola alta, which measured about 48 cm, was intended for use in Wagner's operas; the Tertis model viola, which has wider bouts and deeper ribs to promote a better tone, is another "nonstandard" shape that allows the player to use a larger instrument. Many experiments with the acoustics of a viola increasing the size of the body, have resulted in a much deeper tone, making it resemble the tone of a cello. Since many composers wrote for a traditional-sized viola in orchestral music, changes in the tone of a viola can have unintended consequences upon the balance in ensembles. One of the most notable makers of violas of the twentieth century was Englishman A. E. Smith, whose violas are sought after and valued.
Many of his violas remain in Australia, his country of residence, where during some decades the violists of the Sydney Symphony Orchestra had a dozen of them in their section. More recent innovations have addressed the ergonomic problems associated with playing the viola by making it shorter and lighter, while finding ways to keep the traditional sound; these include the Otto Erdesz "cutaway" viola, which has one shoulder cut out to make shifting easier. Other experiments that deal with the "ergonomics vs. sound" problem have appeared. The American composer Harry Partch fitted a viola with a cello neck to allow the use of his 43-tone scale. Luthiers have created five-stringed violas, which allow a greater playing range. A person who plays the viola is called a violist or a viola
Voxx is a 1980 rock album by the Bay City Rollers. It was the second of three LPs; the disc featured an unlikely hodgepodge of songs culled from various sources. Two tracks were unused tunes from the Elevator sessions, another two were re-recordings of Duncan Faure solo tracks, "Working for the People" was a redo of a Rabbitt song. "Rebel Rebel" is presented in a live version, lifted from the 1977 Budokan concert that would be released in 2001 as Rollerworld. Production was credited to "Ricky Fender", an alias of Eric Faulkner, with Peter Ker credited for the two Elevator tracks. Voxx was the Rollers' final LP for Arista Records, was released only in Germany and Japan. A CD edition has been issued in Japan and in the UK. "God Save Rock and Roll" "Working for the People" "Soho" "The Hero" "'85" "Honey Don't Leave L. A." "New York" "The Jig" "Only the Young Die Old" "Rebel Rebel" Eric Faulkner – Guitar, lead vocal on "Rebel Rebel" Duncan Faure – Lead vocals, moog, guitars Alan Longmuir – Guitar, vocals, keyboards Derek Longmuir – Drums, percussion Stuart "Woody" Wood – Bass, vocals Peter Kerr – Producer Ricky Fender – Producer except The Hero and Soho
Strangers in the Wind
Strangers in the Wind is a 1978 rock album by the Bay City Rollers. It was the group's sixth original studio album, second consecutive disc to feature the production work of Harry Maslin, who produced hits for Air Supply. Early 1978 had seen a reunion of the Rollers' most successful line-up as bassist Alan Longmuir, a founding member, re-joined the band after a two-year hiatus, now on rhythm guitar; the group timed the release of their new album to coincide with their own network television series, The Krofft Superstar Hour Starring the Bay City Rollers, a Saturday morning NBC show. The kiddie format did little to push record sales for the Rollers, who were over two years removed from their phenomenon stage; the lush, mature soft-rock of Strangers in the Wind did not find an audience, each of three singles failed to hit the U. S. charts. The most successful single from the album, "Where Will I Be Now," was a minor hit in Germany; the band regrouped again with a name change for 1979's Elevator.
Strangers in the Wind was reissued on CD with 1 bonus track in October 2007. "Another Rainy Day in New York City" "All of the World Is Falling in Love" "Where Will I Be Now" "Back on the Street" "Strangers in the Wind" "Love Brought Me Such a Magical Thing" "If You Were My Woman" "Every Tear I Cry" "Shoorah Shoorah for Hollywood" "When I Say I Love You" Eric Faulkner – Lead guitars, acoustic guitars, Roland synth-guitar, harmony vocals, lead vocal on "Back on the Street" Alan Longmuir – Rhythm & acoustic guitars, harmony vocals Derek Longmuir – Drums, vocals Les McKeown – Lead vocals, harmonies Stuart "Woody" Wood – Bass, harmony vocals, lead vocal on "Magical Thing" Harry Maslin – producer David Richards – engineer Martin Pearson – assistant engineer Barry Fasman – strings and brass arrangements Richard Belis – vocal arrangements Nicky Hopkins – keyboards Neal Preston – photography Bob Iwanicki – sleeve illustrator Recorded at Mountain Studios, Switzerland Given its first wide CD release in 2008 on the 7Ts label