Patricia Morrison is an American bass guitarist and songwriter. She worked with The Gun Club, Fur Bible, The Sisters of Mercy and The Damned, she was active in the Los Angeles, California punk rock scene in her mid-teens, was a founding member of The Bags in 1976. She left that band after a fallout with Alice Bag, she began Legal Weapon in 1981. Morrison joined The Gun Club in 1982, she formed the band Fur Bible with Kid Congo Powers, performing as the opening act for Siouxsie and the Banshees. It was during this time Morrison was contacted by Andrew Eldritch, asking her to join The Sisters of Mercy, she performed on The Sisters of Mercy's 1987 album Floodland. According to Jennifer Park: The Sisters of Mercy song "Lucretia My Reflection" was written by Eldritch about Morrison; the lyrics compare her to the historical figure of Lucrezia Borgia. She left the band in the early 1990s, claiming money, owed by Eldritch was not paid. In 1994, Morrison released Reflect on This. In 1996, she joined The Damned.
That same year Morrison married the Damned's lead singer Dave Vanian. After giving birth to Emily Vanian in 2004, Morrison retired from the Damned. Http://www.artifixrecords.com/bagsbio.htm 13. Artifixrecords.com March 15, 2003
The Black Album (The Damned album)
The Black Album was the fourth album by the Damned, the first to feature Paul Gray on bass guitar. It was released in 3 November 1980 on Chiswick as a double album, with "Curtain Call" filling the whole of side 3, a selection of live tracks recorded at Shepperton Studios for Damned fan club members on side 4; the song "13th Floor Vendetta" paid tribute to the film The Abominable Dr. Phibes, opening with the lyrics "...the organ plays to midnight on Maldine Square tonight". The Black Album represented a change in an expansion of their sound. AllMusic critic Ned Raggett noted that "some of the numbers show the band following their original punk vein, but by this point the four...were leaving straight, three-chord thrash to the cul-de-sac revivalists", that it was "a chance for the band to try everything from straightforward rock to gentler atmospherics". Raggett described "Wait for a Blackout" as a "dramatic psych/punk surge" with "overtly-serious goth affectations", qualified "Drinking About My Baby" as "goofy but still enjoyable".
Captain Sensible said that Dave Vanian's vocals were moving to a darker direction, stated "It is goth. He did have a hearse, he was a grave digger"; the Damned's Chiswick back catalogue was acquired by Big Beat in 1981, The Black Album was reissued in August 1982 as a single album that omitted "Curtain Call" and the live tracks. The artwork for the reissue parodied the sleeve of the Beatles' The White Album, rendered in black with no details other than the group's name embossed in capitals. "It was said that the Beatles had their White Album, we had our Black Album", said Vanian. "The sleeve isn't related to the Beatles in any way". However, Scabies said: "Of course it was to do with the Beatles, I was so sick about the debates of what we should have on the front of it. I said:'Put the thing in a plain black sleeve and we'll have a go at the Beatles and The White Album'"; the live tracks were reissued in their own right, with four extra tracks, as Live Shepperton 1980. The first subsequent reissue of The Black Album on CD reinstated "Curtain Call" and the original artwork, the 2005 double-CD reissue reinstated the live tracks.
The 28-date Black Album UK tour began in November 1980, with reformed 1970s streetpunk band the Straps as support. In a retrospective review, AllMusic called the album hit-or-miss, but added that "tracks of note are still thick on the ground" and that "it's still a good blast, a tour de force for Vanian particularly". All tracks written except as noted. NoteThe song titled "Second Time Around" was known as "Machine Gun Etiquette", the title track from the band's previous album. All tracks written except as noted. NotesAdapted from deluxe edition liner notes. "Rabid" and "Seagulls" – recorded at Wessex Studios, February 1980.
Damned Damned Damned
Damned Damned Damned is the debut studio album by English punk rock band the Damned. It was released on 18 February 1977 by Stiff Records. Produced by Nick Lowe, Damned Damned Damned was the first full-length album released by a UK punk group. After the success of "New Rose" and a tour with the Sex Pistols, the Heartbreakers and the Clash, the band went into Pathway Studios to record the album Damned Damned Damned with producer Nick Lowe, who had recorded "New Rose" with them. Following 10 days of recording, the mix was completed on 15 January 1977, the day the master tapes were compiled; the album cover features the four members of the band. Guitarist Brian James recalled: "That was organised by this photographer called Peter Kodick, Stiff had assigned him to do the thing, they thought it was a jolly wheeze to surprise us with a few cream cakes, little knowing that we would relish it, get into to it and enjoy the whole experience". After the photo session, Damned bassist Captain Sensible noted: "...
I had more pie on my face than any of the other buggers and on the back of the sleeve I had my back to the picture, so I went down a photo booth and got some pictures, cut one out and said'put that on there' so I would have something to show my relatives, because I didn't think we'd be invited to make another album". Stiff deliberately printed a limited number of initial copies of the LP with a photo of Eddie and the Hot Rods on the back of the album cover, rather than the Damned playing at The Roxy. An "erratum" sticker was put on the back cover, on the front of the LP - on top of the original shrink wrap - was a red "food-fight" sticker that said "Damned Damned", thus completing the LP title when read underneath the band's name. Stiff was known for such unusual promotional activity; as of 2009, a copy of this rare print which still had both stickers and the shrink wrap intact fetched £200-500, depending on condition. The album design was credited to a pseudonym of Barney Bubbles. Damned Damned Damned was issued by Stiff Records on 18 February 1977, James' 22nd birthday.
In a contemporary review, NME praised the group's musical ability, opining that the Damned have "all the residual skills needed for the actual performance of exhausting modern music", stating that James was the most effective powerhouse guitarist since Pete Townshend and concluding that the album as a whole was "a professional production and is much more convincing than some other new wave bands I've heard on record."BBC's retrospective review praised the album's energy, pop satire and general humour, commenting, "Each track featured the hammering toms of Rat Scabies and Captain Sensible's bass-as-guitar propelling Brian James' exhilarating machine gun axe into your living room". The American press has favored the album. Ned Raggett of AllMusic gave it their highest rating of 5 stars, calling it "a stone classic of rock & roll fire" and declaring that "Damned Damned Damned is and remains rock at its messy, wonderful best." Pitchfork positively assessed the album in a negative review of the Damned's 2001 album Grave Disorder, stating, "I won't lie to you: the Damned's new album isn't good.
In fact, the Damned have only recorded a few albums that were—for instance, their debut or 1979's Machine Gun Etiquette". All tracks written except where noted. Adapted from the album's liner notes; the first disc contains the twelve tracks from the original album. NoteDisc 3 was recorded at the Damned's live debut at the 100 Club on 6 July 1976 supporting the Sex Pistols. Recorded on a Sony cassette recorder, hidden in a sports bag, onto a Scotch 120 tape. Dave Vanian – vocals Brian James – guitar, vocals Captain Sensible – bass, vocals Rat Scabies – drums, vocals Nick Lowe – producer Barry "Bazza" Farmer – engineer Peter "Kodick" Gravelle - cover photographyAdditional production Disc 2Matt Dangerfield – producer, engineer Jeff Griffin – producer Shel Talmy – producer Mike Robinson – engineer Damned Damned Damned at Discogs
The bass guitar is a plucked string instrument similar in appearance and construction to an electric guitar, except with a longer neck and scale length, four to six strings or courses. The four-string bass is tuned the same as the double bass, which corresponds to pitches one octave lower than the four lowest-pitched strings of a guitar, it is played with the fingers or thumb, or striking with a pick. The electric bass guitar has pickups and must be connected to an amplifier and speaker to be loud enough to compete with other instruments. Since the 1960s, the bass guitar has replaced the double bass in popular music as the bass instrument in the rhythm section. While types of basslines vary from one style of music to another, the bassist plays a similar role: anchoring the harmonic framework and establishing the beat. Many styles of music include the bass guitar, it is a soloing instrument. According to the New Grove Dictionary of Music and Musicians, an "Electric bass guitar a Guitar with four heavy strings tuned E1'-A1'-D2-G2."
It defines bass as "Bass. A contraction of Double bass or Electric bass guitar." According to some authors the proper term is "electric bass". Common names for the instrument are "bass guitar", "electric bass guitar", "electric bass" and some authors claim that they are accurate; the bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds. In the 1930s, musician and inventor Paul Tutmarc of Seattle, developed the first electric bass guitar in its modern form, a fretted instrument designed to be played horizontally; the 1935 sales catalog for Tutmarc's electronic musical instrument company, featured his "Model 736 Bass Fiddle", a four-stringed, solid-bodied, fretted electric bass guitar with a 30 1⁄2-inch scale length, a single pick up. The adoption of a guitar's body shape made the instrument easier to hold and transport than any of the existing stringed bass instruments; the addition of frets enabled bassists to play in tune more than on fretless acoustic or electric upright basses.
Around 100 of these instruments were made during this period. Audiovox sold their “Model 236” bass amplifier. Around 1947, Tutmarc's son, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally distributed L. D. Heater Music Company wholesale jobber catalogue of 1948. However, the Tutmarc family inventions did not achieve market success. In the 1950s, Leo Fender and George Fullerton developed the first mass-produced electric bass guitar; the Fender Electric Instrument Manufacturing Company began producing the Precision Bass in October 1951. The "P-bass" evolved from a simple, un-contoured "slab" body design and a single coil pickup similar to that of a Telecaster, to something more like a Fender Stratocaster, with a contoured body design, edges beveled for comfort, a split single coil pickup; the "Fender Bass" was a revolutionary new instrument for gigging musicians. In comparison with the large, heavy upright bass, the main bass instrument in popular music from the early 1900s to the 1940s, the bass guitar could be transported to shows.
When amplified, the bass guitar was less prone than acoustic basses to unwanted audio feedback. In 1953 Monk Montgomery became the first bassist to tour with the Fender bass guitar, in Lionel Hampton's postwar big band. Montgomery was possibly the first to record with the bass guitar, on July 2, 1953 with The Art Farmer Septet. Roy Johnson, Shifty Henry, were other early Fender bass pioneers. Bill Black, playing with Elvis Presley, switched from upright bass to the Fender Precision Bass around 1957; the bass guitar was intended to appeal to guitarists as well as upright bass players, many early pioneers of the instrument, such as Carol Kaye, Joe Osborn, Paul McCartney were guitarists. In 1953, following Fender's lead, Gibson released the first short-scale violin-shaped electric bass, with an extendable end pin so a bassist could play it upright or horizontally. Gibson renamed the bass the EB-1 in 1958. In 1958, Gibson released the maple arched-top EB-2 described in the Gibson catalogue as a "hollow-body electric bass that features a Bass/Baritone pushbutton for two different tonal characteristics".
In 1959 these were followed by the more conventional-looking EB-0 Bass. The EB-0 was similar to a Gibson SG in appearance. Whereas Fender basses had pickups mounted in positions in between the base of the neck and the top of the bridge, many of Gibson's early basses featured one humbucking pickup mounted directly against the neck pocket; the EB-3, introduced in 1961 had a "mini-humbucker" at the bridge position. Gibson basses tended to be smaller, sleeker instruments with a shorter scale length than the Precision. A number of other companies began manufacturing bass guitars during the 1950s: Kay in 1952, Hofner and Danelectro in 1956, Rickenbacker in 1957 and Burns/Supersound in 1958. 1956 saw the appearance at the German trade fair "Musikmesse Frankfurt" of the distinctive Höfner 500/1 violin-shaped bass made using violin construction techniques by Walter Höfner, a second-generation violin luthier. The design was known popularly as the "Beat
Strawberries is the fifth studio album by English punk rock band the Damned. It was released in October 1982 by record label Bronze; the record was released as the Damned were enjoying a higher public profile, thanks to the solo success of Captain Sensible. Sensible Don't Bother Me, he introduced new instruments to the band, including sitar, cello played by his then-girlfriend, Rachael Bor of the pop group Dolly Mixture. While Strawberries was praised for its positive, up-beat melodies, the album marked a time of conflict and division within the band. During the recording, bassist Paul Gray fought with drummer Rat Scabies over management and song-writing responsibilities. Gray would leave the band in February 1983, Bryn Merrick took over on bass. Keyboard player Roman Jugg became the Damned's fifth band member, his arrival led to further experiments including loops and sampling. Jugg would move to guitar, replacing Sensible, who left the band after the Strawberries concert tour; the album's working title was Strawberries for Pigs, a name inspired by the reception the band's newer music received from some of their older fans.
As Vanian explained, "we were playing a lot of new material, we had an audience that didn't want to hear about anything, they just wanted to hear "Neat Neat Neat" and "New Rose," nothing else. And they wanted to just smash everything, and they weren't interested in hearing music at all. So at one point, I turned around and said,'It's like giving strawberries to a fucking pig, this gig, you know?' And that stuck in our minds, we used it". Strawberries was released in October 1982. Limited editions included a strawberry-scented lyric insert; the album reached No. 15 in the Official UK Album chart. Critics praised the album’s musicianship and 60s influences. Writing in Smash Hits, Fred Dellar gave the album 9 out of 10: "The Damned go melodic, offer harmony vocals, employ cellos and brass sections, remember to include a lyric sheet This is the kind of pop album Paul McCartney would be pleased to have his moniker on". In Sounds, Steve Keaton wrote that "Strawberries is the Damned at their most melodic and subversive".
He added that the album "manages to indulge both Dave Vanian’s darkly obsessive Gothic vision and the good Captain's psychedelic whims without sacrificing any hard rock sensibilities.'Strawberries' should be the LP to grant the Damned the recognition they've courted for so long". Trouser Press described the album as "eclectic and inconsistent but well-produced and boasting some fine tunes, shows Sensible's increasing pop prominence and Vanian's willingness to explore a stylistic pallette with no debt to punk". Other critics have noted the album's embrace of psychedelic pop, as well as gothic rock. In a negative contemporary review, NME called Strawberries "a miserable retch of a record, spewing fourth enough nauseous'nostalgia' to fill a book entitled'Why The Damned Never Made It', without once touching any spirit, it seems they're doomed to regurgitating their history'til the aftertaste becomes too bad to bear". AllMusic's retrospective review was favourable: "Recuperating a bit from The Black Album's uneven impact while still aiming to try whatever they want in studio, by turns sprightly and cheerful and dramatic, energetic and snarling, or all that and more at once, defies usual expectations to be yet another good rock album from the band".
On 7 January 2005, Castle Records re-released Strawberries in the United Kingdom on CD. Credits adapted from the album's liner notes. All tracks written except as noted. NoteSome versions of Strawberries have altered songwriting credits; the DamnedDave Vanian – lead vocals Captain Sensible – guitar and lead vocals, sitar Paul Gray – bass Rat Scabies – drums, synthesizer Roman Jugg – keyboard solosAdditional personnelSimon Lloyd – brass Rachel Bor – cello ProductionThe Damned – production Hugh Jones – production Dave Vanian – album cover design Linda Roast – album cover design Martin Poole – album cover design Nigel Greerson – sleeve photographyDeluxe editionVivian Stanshall – voice-over The Damned – production Hugh Jones – production Tony Mansfield – production Rat Scabies – remastering Tim Debney – remastering Debbie de Villiers – graphic design Kieron Tyler – liner notes Strawberries at Discogs
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
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular