George Harrison was an English musician, singer-songwriter and film producer who achieved international fame as the lead guitarist of the Beatles. Referred to as "the quiet Beatle", Harrison embraced Indian culture and helped broaden the scope of popular music through his incorporation of Indian instrumentation and Hindu-aligned spirituality in the Beatles' work. Although the majority of the band's songs were written by John Lennon and Paul McCartney, most Beatles albums from 1965 onwards contained at least two Harrison compositions, his songs for the group included "Taxman", "Within You Without You", "While My Guitar Gently Weeps", "Here Comes the Sun" and "Something". Harrison's earliest musical influences included Django Reinhardt. By 1965, he had begun to lead the Beatles into folk rock through his interest in Bob Dylan and the Byrds, towards Indian classical music through his use of the sitar on "Norwegian Wood". Having initiated the band's embracing of Transcendental Meditation in 1967, he subsequently developed an association with the Hare Krishna movement.
After the band's break-up in 1970, Harrison released the triple album All Things Must Pass, a critically acclaimed work that produced his most successful hit single, "My Sweet Lord", introduced his signature sound as a solo artist, the slide guitar. He organised the 1971 Concert for Bangladesh with Indian musician Ravi Shankar, a precursor to benefit concerts such as Live Aid. In his role as a music and film producer, Harrison produced acts signed to the Beatles' Apple record label before founding Dark Horse Records in 1974 and co-founding HandMade Films in 1978. Harrison released several best-selling singles and albums as a solo performer. In 1988, he co-founded the platinum-selling supergroup the Traveling Wilburys. A prolific recording artist, he was featured as a guest guitarist on tracks by Badfinger, Ronnie Wood and Billy Preston, collaborated on songs and music with Dylan, Eric Clapton, Ringo Starr and Tom Petty, among others. Rolling Stone magazine ranked him number 11 in their list of the "100 Greatest Guitarists of All Time".
He is a two-time Rock and Roll Hall of Fame inductee – as a member of the Beatles in 1988, posthumously for his solo career in 2004. Harrison's first marriage, to model Pattie Boyd in 1966, ended in divorce in 1977; the following year he married Olivia Arias, with whom he had Dhani. Harrison died from lung cancer in 2001 at the age of 58, two years after surviving a knife attack by an intruder at his Friar Park home, his remains were cremated and the ashes were scattered according to Hindu tradition in a private ceremony in the Ganges and Yamuna rivers in India. He left an estate of £100 million. Harrison was born at 12 Arnold Grove in Wavertree, Liverpool, on 25 February 1943, he was the youngest of four children of Harold Hargreaves Louise. Harold was a bus conductor who had worked as a ship's steward on the White Star Line, Louise was a shop assistant of Irish Catholic descent, he had one sister and two brothers and Peter. According to Boyd, Harrison's mother was supportive: "All she wanted for her children is that they should be happy, she recognized that nothing made George quite as happy as making music."
Louise was an enthusiastic music fan, she was known among friends for her loud singing voice, which at times startled visitors by rattling the Harrisons' windows. When Louise was pregnant with George, she listened to the weekly broadcast Radio India. Harrison's biographer Joshua Greene wrote, "Every Sunday she tuned in to mystical sounds evoked by sitars and tablas, hoping that the exotic music would bring peace and calm to the baby in the womb."Harrison lived the first four years of his life at 12 Arnold Grove, a terraced house on a cul-de-sac. The home had an outdoor toilet and its only heat came from a single coal fire. In 1949, the family was moved to 25 Upton Green, Speke. In 1948, at the age of five, Harrison enrolled at Dovedale Primary School, he passed the eleven-plus exam and attended Liverpool Institute High School for Boys from 1954 to 1959. Though the institute did offer a music course, Harrison was disappointed with the absence of guitars, felt the school "moulded into being frightened".
Harrison's earliest musical influences included George Formby, Cab Calloway, Django Reinhardt and Hoagy Carmichael. In early 1956 he had an epiphany: while riding his bicycle, he heard Elvis Presley's "Heartbreak Hotel" playing from a nearby house, the song piqued his interest in rock and roll, he sat at the back of the class drawing guitars in his schoolbooks, commented, "I was into guitars." Harrison cited Slim Whitman as another early influence: "The first person I saw playing a guitar was Slim Whitman, either a photo of him in a magazine or live on television. Guitars were coming in."Although Harold Harrison was apprehensive about his son's interest in pursuing a music career, in 1956 he bought George a Dutch Egmond flat top acoustic guitar, which according to Harold, cost £3.10. One of his father's friends taught Harrison how to play "Whispering", "Sweet Sue" and "Dinah", inspired by Donegan's music, Harrison formed a skiffle group called the Rebels with his brother Peter and a friend, Arthur Kelly.
On the bus to school, Harrison met Paul McCartney, who attended the Liverpool Institute, the pair bonded over their shared
Pour Down Like Silver
Pour Down Like Silver is the third album by the British duo of singer-songwriter and guitarist Richard and vocalist Linda Thompson. It was recorded in the summer of 1975 and released in November 1975; the Thompsons had moved into a commune in London. The songs on this album reflect their new faith and the relief that Richard Thompson had found in that faith, it seems that conflicting pressures were bearing down on the duo at the time. Linda Thompson:'... At one point our Sheikh forbade Richard to do music... On the other hand, he always encouraged me, "you have a voice and you've got to sing".' Jo Lustig:'Richard came to me and said "look, my Mullah doesn't want me to play electric guitar. I don't know what I'm going to do about my career... I'm not going to be working."'And there was a recording contract. The Thompsons owed Island Records an album; the compromise seems to have been that the album to be delivered was to have a strong spiritual aspect. Linda Thompson:'Pour Down Like Silver was when Sheikh Abdul Q'adir said we could make music as long as it was to God...
"Dimming of the Day", "Beat the Retreat", "Night Comes In", they're all about God, considering they're all about God some of them aren't bad.' Despite these surrounding constraints and conflicts, the album is recognisably a Richard and Linda Thompson album in terms of melodies and the lyrical style. Pour Down Like Silver was recorded at Sound Techniques studio with John Wood engineering. Richard Thompson would have been familiar with both engineer and studio from his time with Fairport Convention. Joe Boyd, who had both produced and managed Fairport, did the vast majority of his production work at Sound Techniques and with Wood at the controls. Richard Thompson had left Fairport Convention in 1971 with a considerable reputation as an electric guitar soloist. However, the first few albums of his post-Fairport career had placed more emphasis on the vocals and the songs themselves; as noted above, Thompson was under increasing pressure from his spiritual teacher to abandon the electric guitar. What recent live work there had been had placed the emphasis on acoustic guitar.
So it was notable that Pour Down Like Silver and the live shows either side of the album’s release saw Thompson’s electric guitar returning to the spotlight. Concert performances featured extended guitar solos on "The Calvary Cross" and on "Night Comes In" and "For Shame of Doing Wrong" from the newly released Pour Down Like Silver; the electric guitar is prominent indeed on the third Linda album. More so because of the sparser arrangements and production that distinguish this album from its more lush sounding predecessor. Subsequently, Thompson disclosed that this stark and simple production was more by accident than design. "It was a stark record, but I think it was by accident in a sense – we were intending to have Simon come and play rhythm guitar but he wasn’t available so everything ended up sounding stark and I was always going to overdub rhythm guitar and stuff, but we thought we’ll just leave it, what the hell."Thompson may be regarded as being a little too off-hand here. In fact he overdubbed mandolin and multiple guitar parts on some tracks, session musicians were called in.
Another noticeable instrumental element of the album is the accordion of John Kirkpatrick, prominent both on this album and during the Thompsons' live shows in 1975. The understated and elegant "Dimming of the Day" was sung by Linda Thompson on this album, but Richard Thompson has continued to feature it in his own live shows for many years - an indication of its deep personal significance; this song is an example of Thompson writing in a centuries-old Sufic tradition of expressing divine love in earthly terms. On the album "Dimming of the Day" segues into a solo guitar performance of Scots composer James Scott Skinner's "Dargai" that matches the mood of the song and serves to bring the album to a contemplative conclusion. "Night Comes In" is another song of profound personal significance and recounts Richard Thompson's formal initiation into the Sufi faith. The song is notable for several prominent passages of electric guitar playing notable for their lyrical intensity - the closing, multi-tracked solo.
"Hard Luck Stories" is the most musically upbeat song on the album, with sardonic lyrics and a incisive guitar solo. After this album and the following short tour and Linda Thompson took a sabbatical from recording and performing music. All songs written by Richard Thompson except "Dargai", written by J. Scott Skinner and arranged by Thompson. "Streets of Paradise" - 4.17 "For Shame of Doing Wrong" - 4.44 "The Poor Boy Is Taken Away" - 3.35 "Night Comes In" - 8.12 "Jet Plane in a Rocking Chair" - 2.48 "Beat the Retreat" - 5.52 "Hard Luck Stories" - 3.51 "Dimming of the Day"/"Dargai" - 7.16 Available on 2003 Island Reissue "Streets of Paradise" - 3.57 "Night Comes In" - 12.22 "Dark End of the Street" - 4.16 "Beat the Retreat" - 6.25 Richard Thompson - guitar, mandolin, Appalachian dulcimer, Hammered dulcimer, electric piano Linda Thompson - vocals Timi Donald - drums Pat Donaldson - bass guitar Dave Mattacks - drums Dave Pegg - bass guitar John Kirkpatrick - accordion, concertina Ian Whiteman - flute, shakuhachi Aly Bain - fiddle Nic Jones - fiddle Henry Lowther - trumpet Clare Lowther - cello Jack Brymer - clarinet Dargai by James Scott Skinner
A mandolin is a stringed musical instrument in the lute family and is plucked with a plectrum or "pick". It has four courses of doubled metal strings tuned in unison, although five and six course versions exist; the courses are tuned in a succession of perfect fifths. It is the soprano member of a family that includes the mandola, octave mandolin and mandobass. There are many styles of mandolin, but three are common, the Neapolitan or round-backed mandolin, the carved-top mandolin and the flat-backed mandolin; the round-back has a deep bottom, constructed of strips of wood, glued together into a bowl. The carved-top or arch-top mandolin has a much shallower, arched back, an arched top—both carved out of wood; the flat-backed mandolin uses thin sheets of wood for the body, braced on the inside for strength in a similar manner to a guitar. Each style of instrument is associated with particular forms of music. Neapolitan mandolins feature prominently in traditional music. Carved-top instruments are common in American folk music and bluegrass music.
Flat-backed instruments are used in Irish and Brazilian folk music. Some modern Brazilian instruments feature an extra fifth course tuned a fifth lower than the standard fourth course. Other mandolin varieties differ in the number of strings and include four-string models such as the Brescian and Cremonese, six-string types such as the Milanese and the Sicilian and 6 course instruments of 12 strings such as the Genoese. There has been a twelve-string type and an instrument with sixteen-strings. Much of mandolin development revolved around the soundboard. Pre-mandolin instruments were quiet instruments, strung with as many as six courses of gut strings, were plucked with the fingers or with a quill. However, modern instruments are louder—using four courses of metal strings, which exert more pressure than the gut strings; the modern soundboard is designed to withstand the pressure of metal strings that would break earlier instruments. The soundboard comes in many shapes—but round or teardrop-shaped, sometimes with scrolls or other projections.
There is one or more sound holes in the soundboard, either round, oval, or shaped like a calligraphic f. A round or oval sound hole may be bordered with decorative rosettes or purfling. Mandolins evolved from the lute family in Italy during the 17th and 18th centuries, the deep bowled mandolin, produced in Naples, became common in the 19th century. Dating to c. 13,000 BC, a cave painting in the Trois Frères cave in France depicts what some believe is a musical bow, a hunting bow used as a single-stringed musical instrument. From the musical bow, families of stringed instruments developed. In turn, this led to being able to play chords. Another innovation occurred when the bow harp was straightened out and a bridge used to lift the strings off the stick-neck, creating the lute; this picture of musical bow to harp bow has been contested. In 1965 Franz Jahnel wrote his criticism stating that the early ancestors of plucked instruments are not known, he felt that the harp bow was a long cry from the sophistication of the 4th-century BC civilization that took the primitive technology and created "technically and artistically well made harps, lyres and lutes."
Musicologists have put forth examples of that 4th-century BC technology, looking at engraved images that have survived. The earliest image showing a lute-like instrument came from Mesopotamia prior to 3000 BC. A cylinder seal from c. 3100 BC or earlier shows. From the surviving images, theororists have categorized the Mesopotamian lutes, showing that they developed into a long variety and a short; the line of long lutes may have developed into pandura. The line of short lutes was further developed to the east of Mesopotamia, in Bactria and Northwest India, shown in sculpture from the 2nd century BC through the 4th or 5th centuries AD. Bactria and Gandhara became part of the Sasanian Empire. Under the Sasanians, a short almond shaped lute from Bactria came to be called the barbat or barbud, developed into the Islamic world's oud or ud; when the Moors conquered Andalusia in 711 AD, they brought their ud along, into a country that had known a lute tradition under the Romans, the pandura. During the 8th and 9th centuries, many musicians and artists from across the Islamic world flocked to Iberia.
Among them was Abu l-Hasan ‘Ali Ibn Nafi‘, a prominent musician who had trained under Ishaq al-Mawsili in Baghdad and was exiled to Andalusia before 833 AD. He taught and has been credited with adding a fifth string to his oud and with establishing one of the first schools of music in Córdoba. By the 11th century, Muslim Iberia had become a center for the manufacture of instruments; these goods spread to Provence, influencing French troubadours and trouvères and reaching the rest of Europe. Beside the introduction of the lute to Spain by the Moors, another important point of transfer of the lute from Arabian to European culture was Sicily, where it was brought either by Byzantine or by Muslim musicians. There were singer-lutenists at the court in Palermo following the N
A percussion instrument is a musical instrument, sounded by being struck or scraped by a beater. The percussion family is believed to include the oldest musical instruments, following the human voice; the percussion section of an orchestra most contains instruments such as timpani, snare drum, bass drum, cymbals and tambourine. However, the section can contain non-percussive instruments, such as whistles and sirens, or a blown conch shell. Percussive techniques can be applied to the human body, as in body percussion. On the other hand, keyboard instruments, such as the celesta, are not part of the percussion section, but keyboard percussion instruments such as the glockenspiel and xylophone are included. Percussion instruments are most divided into two classes: Pitched percussion instruments, which produce notes with an identifiable pitch, unpitched percussion instruments, which produce notes or sounds without an identifiable pitch. Percussion instruments may play not only rhythm, but melody and harmony.
Percussion is referred to as "the backbone" or "the heartbeat" of a musical ensemble working in close collaboration with bass instruments, when present. In jazz and other popular music ensembles, the pianist, bassist and sometimes the guitarist are referred to as the rhythm section. Most classical pieces written for full orchestra since the time of Haydn and Mozart are orchestrated to place emphasis on the strings and brass; however at least one pair of timpani is included, though they play continuously. Rather, they serve to provide additional accents. In the 18th and 19th centuries, other percussion instruments have been used, again sparingly; the use of percussion instruments became more frequent in the 20th century classical music. In every style of music, percussion plays a pivotal role. In military marching bands and pipes and drums, it is the beat of the bass drum that keeps the soldiers in step and at a regular speed, it is the snare that provides that crisp, decisive air to the tune of a regiment.
In classic jazz, one immediately thinks of the distinctive rhythm of the hi-hats or the ride cymbal when the word "swing" is spoken. In more recent popular music culture, it is impossible to name three or four rock, hip-hop, funk or soul charts or songs that do not have some sort of percussive beat keeping the tune in time; because of the diversity of percussive instruments, it is not uncommon to find large musical ensembles composed of percussion. Rhythm and harmony are all represented in these ensembles. Music for pitched percussion instruments can be notated on a staff with the same treble and bass clefs used by many non-percussive instruments. Music for percussive instruments without a definite pitch can be notated with a specialist rhythm or percussion-clef. Percussion instruments are classified by various criteria sometimes depending on their construction, ethnic origin, function within musical theory and orchestration, or their relative prevalence in common knowledge; the word "percussion" derives from Latin the terms: "percussio", "percussus".
As a noun in contemporary English, Wiktionary describes it as "the collision of two bodies to produce a sound." The term has application in medicine and weaponry, as in percussion cap. However, all known uses of percussion appear to share a similar lineage beginning with the original Latin: "percussus". In a musical context the percussion instruments may have been coined to describe a family of musical instruments including drums, metal plates, or blocks that musicians beat or struck to produce sound. Hornbostel–Sachs has no high-level section for percussion. Most percussion instruments are classified as membranophones; however the term percussion is instead used at lower-levels of the Hornbostel–Sachs hierarchy, including to identify instruments struck with either a non-sonorous object or against a non-sonorous object. This is opposed to concussion, which refers to instruments with two or more complementary sonorous parts that strike against each other and other meanings. For example: 111.1 Concussion idiophones or clappers, played in pairs and beaten against each other, such as zills and clapsticks.
111.2 Percussion idiophones, includes many percussion instruments played with the hand or by a percussion mallet, such as the hang and the xylophone, but not drums and only some cymbals. 21 Struck drums, includes most types of drum, such as the timpani, snare drum, tom-tom. (Included in most drum sets or 412.12 Percussion reeds, a class of wind instrument unrelated to percussion in the more common sense There are many instruments that have some claim to being percussion, but are classified otherwise: Keyboard instruments such as the celesta and piano. Stringed instruments played with beaters such as the hammered dulcimer. Unpitched whistles and similar instruments, such as the pea whistle and Acme siren. Percussion instruments are sometimes classified as "pitched" or "unpitched". While valid, this classification is seen as inadequate. Rather, it may be more informative to describe percussion instruments in regards to one or more of the following four paradigms: Many texts, including Teaching Percussion by Gary Cook of the University of Arizona, begin by studying the physica
Singing is the act of producing musical sounds with the voice and augments regular speech by the use of sustained tonality, a variety of vocal techniques. A person who sings is called a vocalist. Singers perform music that can be sung without accompaniment by musical instruments. Singing is done in an ensemble of musicians, such as a choir of singers or a band of instrumentalists. Singers may perform as soloists or accompanied by anything from a single instrument up to a symphony orchestra or big band. Different singing styles include art music such as opera and Chinese opera, Indian music and religious music styles such as gospel, traditional music styles, world music, blues and popular music styles such as pop, electronic dance music and filmi. Singing arranged or improvised, it may be done as a form of religious devotion, as a hobby, as a source of pleasure, comfort or ritual, as part of music education or as a profession. Excellence in singing requires time, dedication and regular practice.
If practice is done on a regular basis the sounds can become more clear and strong. Professional singers build their careers around one specific musical genre, such as classical or rock, although there are singers with crossover success, they take voice training provided by voice teachers or vocal coaches throughout their careers. In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply or bellows. Though these four mechanisms function independently, they are coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by lower pelvis/pelvic muscles. Inhalation is aided by use of external intercostals and sternocleidomastoid muscles; the pitch is altered with the vocal cords. With the lips closed, this is called humming; the sound of each individual's singing voice is unique not only because of the actual shape and size of an individual's vocal cords but due to the size and shape of the rest of that person's body.
Humans have vocal folds which can loosen, tighten, or change their thickness, over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, timbre, or tone of the sound produced. Sound resonates within different parts of the body and an individual's size and bone structure can affect the sound produced by an individual. Singers can learn to project sound in certain ways so that it resonates better within their vocal tract; this is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds; these different kinds of laryngeal function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singer's Formant, it has been shown that a more powerful voice may be achieved with a fatter and fluid-like vocal fold mucosa.
The more pliable the mucosa, the more efficient the transfer of energy from the airflow to the vocal folds. Vocal registration refers to the system of vocal registers within the voice. A register in the voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, possessing the same quality. Registers originate in laryngeal function, they occur. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds; the occurrence of registers has been attributed to effects of the acoustic interaction between the vocal fold oscillation and the vocal tract. The term "register" can be somewhat confusing; the term register can be used to refer to any of the following: A particular part of the vocal range such as the upper, middle, or lower registers. A resonance area such as chest voice or head voice. A phonatory process A certain vocal timbre or vocal "color" A region of the voice, defined or delimited by vocal breaks.
In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology, the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, the whistle register; this view is adopted by many vocal pedagogues. Vocal resonation is the process by which the basic product of phonation is en
Madelaine Edith "Maddy" Prior, MBE is an English folk singer, best known as the lead vocalist of Steeleye Span. She was moved to St Albans in her teens, her father, Allan Prior, was co-creator of the police drama Z-Cars. She was married to Rick Kemp and their daughter Rose Kemp is a singer, she was part of the singing Maddy' with Mac MacLeod. She performed with Tim Hart and recorded two albums with him before they helped to found the group Steeleye Span in 1969, she left Steeleye Span in 1997 but returned in 2002 and has toured with them in 2008/9 and 2013. With June Tabor she was the singing duo Silly Sisters, she toured with the Carnival Band in 2007 and with Giles Lewin and Hannah James in 2012 and 2013. She has released singles and albums as a solo artist, with these bands and in several collaborations, she runs. Born in Blackpool, Prior moved in her teens to St Albans, where she befriended the young Donovan Leitch and Mac MacLeod in The Cock pub, she formed a duo with MacLeod called'Mac & Maddy'.
She became a roadie including Reverend Gary Davis. They gave her useful advice about singing English folk songs instead of American songs, her father, Allan Prior, was co-creator of the police drama Z-Cars, wrote Stookie, a 6-part series for television, about a boy with his arm in a sling. Maddy sang the title song, released as a single in 1985, it reappeared on the Steeleye Span album A Rare Collection 1972 – 1996. After a brief stint with Mac MacLeod in'Mac & Maddy', by 1966 she began performing with Tim Hart, another St Albans resident, together they recorded two albums before becoming founding members of Steeleye Span in 1969, they were the backbone of the group until the early 1980s when ill-health forced Hart into semi-retirement. Prior plays the tambourine and ukulele, always gives a sprightly performance of her individual dances. In 1974 Ralph McTell wrote "Maddy Dances" in her honour, included on his album Easy. Prior married bassist Rick Kemp, though they have since divorced; the singer Rose Kemp is their daughter.
Prior has recorded session work, albums of her own songs and eclectic styles from medieval, through British folk rock — Steeleye Span and Maddy Prior appeared on television with a regular BBC 4 programme Electric Folk — prog-rock and traditional songs, including session work on Mike Oldfield's Incantations. She left Steeleye Span in 1997 but returned in 2002; the 1999 album The Journey was recorded in 1995, when Maddy was still in the band but not released until four years later. She was one half of the duo Silly Sisters, which helped to boost June Tabor's career. Since 2003, Prior hosted an Arts Centre called Stones Barn in Cumbria. Working with fellow singers and performers like Abbie Lathe and daughter Rose Kemp, Prior has offered residential courses focusing on singing, meditation and performance. Other events, hosted by other teachers, include classical Indian dances and drumming. Prior campaigns on behalf of the charity Cancer Research UK. Maddy Prior took to the road with The Carnival Band in May 2007 for their "Music for Tavern and Chapel" tour.
They celebrated the 300th anniversary of one of the key influences on Charles Wesley. She made a guest appearance with The Levellers at the Solfest Festival in Cumbria in August 2007. On recent albums Troy Donockley has been a co-producer. In December 2007 the album Ringing The Changes was issued, it is a collection of songs written by the band. In 2008 Maddy Prior appeared at the BBC's "Electric Proms". Steeleye Span toured the Eastern US, Australia and the UK beginning in 2009. With Giles Lewin and Hannah James, Prior completed two successful UK tours in the spring and autumn of 2012, a third in autumn 2013. In November and December 2013, Prior is touring again with Steeleye Span, on the Wintersmith Tour, following the release in October of their album Wintersmith, a collaborative project based on the novel of the same name by Sir Terry Pratchett. A short tour with The Carnival Band in November and December, featuring carols and seasonal music, has become a regular fixture for Prior in recent years.
In 2001 Maddy Prior was awarded the MBE for services to folk music. In 2014 she received an Honorary Fellowship from the University of Cumbria. Prior was on all the Steeleye Span albums from Hark! The Village Wait to Time, she returned for Present – The Very Best of Steeleye Span and subsequent albums. Woman in the Wings — with Jethro Tull Changing Winds Hooked on Winning Going for Glory Happy Families Year Memento Flesh and Blood Ravenchild Ballads and Candles Arthur the King Bib and Tuck — as'Maddy Prior And The Girls' with Abbie Lathe and Rose Kemp Lionhearts Under the Covers — as'Maddy + Girls' with Abbie Lathe and Claudia Gibson The Quest Seven for Old England Collections 1995 – 2005 Folk Songs of Olde England vol 1 Folk Songs of Olde England vol 2 Summer Solstice Silly Sisters No More To The Dance Lovely in the Dances A Tapestry of Carols Sing Lustily and with Good Courage Carols and Capers Hang Up Sorrow and Care Carols at Christmas Gold Frankincense and Myrrh An Evening of Carols and Capers Paradise Found Ringing the Changes Beat the Retreat Maddy Prior and Martin Carthy perform two songs, "Farewell, Farewell", "The Great Valerio" on this Richard Thompson tribut
Session musicians, studio musicians, or backing musicians are musicians hired to perform in recording sessions or live performances. Session musicians are not permanent members of a musical ensemble or band, they work behind the scenes and achieve individual fame in their own right as soloists or bandleaders. However, top session musicians are well known within the music industry, some have become publicly recognized, such as the Wrecking Crew and Motown's The Funk Brothers. Many session musicians specialize in playing common instruments such as guitar, bass, or drums. Others are specialists, play brass and strings. Many session musicians play multiple instruments, which lets them play in a wider range of musical situations and styles. Examples of "doubling" include electric bass. Session musicians are used. Session musicians are used by recording studios to provide backing tracks for other musicians for recording sessions and live performances. In the 2000s, the terms "session musician" and "studio musician" are synonymous, though in past decades, "studio musician" meant a musician associated with a single record company, recording studio or entertainment agency.
During the 1950s and 1960s, session players were active in local recording scenes concentrated in places such as Los Angeles, New York City, Memphis and Muscle Shoals. Each local scene had its circle of "A-list" session musicians, such as The Nashville A-Team that played on numerous country and rock hits of the era, the two groups of musicians in Memphis, both the Memphis Boys and the musicians who backed Stax/Volt recordings, the Funk Brothers in Detroit, who played on many Motown recordings. At the time, multi-tracking equipment, though common, was less elaborate, instrumental backing tracks were recorded "hot" with an ensemble playing live in the studio. Musicians had to be available "on call" when producers needed a part to fill a last-minute time slot. In the 1960s, Los Angeles was considered the top recording destination in the United States — studios were booked around the clock, session time was sought after and expensive. Songs had to be recorded in the fewest possible takes. In this environment, Los Angeles producers and record executives had little patience for needless expense or wasted time and depended on the service of reliable standby musicians who could be counted on to record in a variety of styles with minimal practice or takes, deliver hits on short order.
A studio band is a musical ensemble, in the employ of a recording studio for the purpose of accompanying recording artists who are customers of the studio. The Nashville A-Team Studio musicians, their contributions began in the 1950s with artists such as Elvis Presley. The original A-Team includes bassist Bob Moore. Cramer, McCoy and Randolph, along with A-Teamer and producer Chet Atkins, would emerge as part of Hee Haw's Million Dollar Band in the 1980s. Booker T. & the M. G.'s The house band at Stax records in Memphis during the 1960s and 1970s, playing behind Otis Redding, Eddie Floyd and Dave, Isaac Hayes, The Staple Singers, others. MGs guitarist Steve Cropper co-wrote many of Redding's hits and the MGs produced albums and hit singles such as "Green Onions" in their own right while being the house band at Stax; the Wrecking Crew Prolific, established studio musicians based in Los Angeles. They have recorded many albums since the 1960s; the Ron Hicklin Singers was a vocal session group associated with the Wrecking Crew and appeared as backing vocalists on many of the Crew's recordings.
The Funk Brothers Session musicians who backed many Motown Records recordings from the late 1950s to the early 1970s, as well as a few non-Motown recordings, notably on Jackie Wilson's " Higher and Higher."The Andantes The Memphis Boys The Section A Los Angeles singer/songwriter scene associated with the Troubadour nightclub and Laurel Canyon in the late 1960s to mid-1970s was supported by musicians Russ Kunkel, Danny Kortchmar, Leland Sklar and Craig Doerge. This session combo, nicknamed "the Section" or "the Mafia", backed many musicians, among others: Carole King, James Taylor, Jackson Browne, Warren Zevon, Kris Kristofferson and David Crosby; the Muscle Shoals Rhythm Section A group comprising Barry Beckett, Roger Hawkins, David Hood, Jimmy Johnson known as the Swampers, became known for the "Muscle Shoals Sound." Many of the recordings done in the Memphis area, which included Muscle Shoals, used The Memphis Horns in their arrangements. MFSB MFSB was a group of soul music studio musicians based in Philadelphia at the Sigma Sound Studios.
The Hillside Singers A vocal group commissioned to provide vocals for Mayoham Music, formed by husband and wife Al Ham and M