Live Cream is a live compilation album by the British rock band Cream, released in 1970. This album comprises four live tracks recorded in 1968 and one studio track "Lawdy Mama" from 1967; the instrumental track for "Lawdy Mama" is the same as heard on "Strange Brew" with a different vocal and guitar solo by Eric Clapton. Live Cream hit No. 15 on the Billboard 200, made No. 4 on the UK Top 40. In a 1970 review, Rolling Stone magazine called Live Cream "an excellent album" and "well-recorded and tense. Paul Kresh of Stereo Review called it "a strangely uneven set of performances" highlighted by the "studio-made" "Lawdy Mama", which he called "three minutes of exciting music." He described the album as "disappointing jazz/rock" with excellent recording and stereo quality "superb" remixing by Adrian Barber, felt that the longer tracks "suffer from interludes of aimlessness", but are "very good". In a retrospective review, Allmusic's Bruce Eder gave Live Cream four out of five stars and said that it "could well be their most brilliant album for sheer musicianship", despite only featuring songs from Cream's "least ambitious and most rudimentary album" Fresh Cream.
Eder found the group's interplay throughout the jams "fascinating" and asserted that "performances like this single-handedly raised the stakes of musicianship in rock." However, Robert Christgau said, despite side one's "unmistakable and attractive" intensity, he prefers "Clapton's graceful picking on Fresh Cream's'Sleepy Time Time' over the flat-out distortions here". J. D. Considine, writing in The Rolling Stone Album Guide, gave it two out of five stars and wrote that both Live Cream and its second volume are "muddled leftovers released to cash in on the band's enduring popularity." "Ultimate Classic Rock" rated the album in the "Top 100 Live Albums", said the album found "cool new wrinkles in the old material". Side one"N. S. U." – 10:15 Recorded 10 March 1968, San Francisco. "Sleepy Time Time" – 6:52 Recorded 9 March 1968, San Francisco. "Lawdy Mama" – 2:46 Recorded May 1967, Atlantic Studios, New York City. Side two"Sweet Wine" – 15:16 Recorded 10 March 1968, San Francisco. "Rollin' and Tumblin'" – 6:42 Recorded 7 March 1968, The Fillmore, San Francisco.
"N. S. U." – 10:15 "Sleepy Time Time" – 6:49 "Sweet Wine" – 15:16 "Rollin' and Tumblin'" – 6:42 "Hey Lawdy Mama" – 2:48 Per liner notes Jack Bruce – bass, vocals Eric Clapton – guitar, vocals Ginger Baker – drums, vocals Felix Pappalardi – producer, except on "Lawdy Mama" Ahmet Ertegun – producer on "Lawdy Mama" Robert Stigwood – producer on "Lawdy Mama" Adrian Barber – recording engineer, re-mix engineer Tom Dowd – recording engineer Bill Halverson – recording engineer Stephen Paley – photography
Martin Ritchie Sharp was an Australian artist, cartoonist and film-maker. Sharp made contributions to Australian and international culture from the early 1960s, was called Australia's foremost pop artist, his psychedelic posters of Bob Dylan and others, rank as classics of the genre, his covers and illustrations were a central feature of OZ magazine, both in Australia and in London. Martin co-wrote one of Cream's best known songs, "Tales of Brave Ulysses", created the cover art for Cream's Disraeli Gears and Wheels of Fire albums, in the 1970s became a champion of singer Tiny Tim, of Sydney's embattled Luna Park. Sharp was born in Bellevue Hill, New South Wales in 1942, educated at Cranbrook private school, where one of his teachers was the artist Justin O'Brien. In 1960, Sharp enrolled at the National Art School at East Sydney, where he contributed to the short-lived student magazine The Arty Wild Oat, along with fellow artists Garry Shead and John Firth Smith, he submitted cartoons to The Bulletin.
In 1961, he enrolled for two terms in architecture at Sydney University before returning to the National Art School. In 1962 Sharp met Richard Neville, editor of the University of NSW student magazine Tharunka, Richard Walsh, editor of its Sydney University counterpart Honi Soit. Both wanted to publish their own "magazine of dissent" and they asked Sharp and Shead to become contributors; the magazine was dubbed OZ. From 1963 though to February 1966 when he left Australia for London, Sharp was its art director and a major contributor. Sydney OZ was first published on April Fool's Day, 1963, its irreverent attitude was in the tradition of the student newspapers, but its satirical and topical coverage of local and national issues and people developed a national profile, made it a target for "the Establishment", soon a prominent casualty of the so-called "Censorship Wars". Sharp held his first one-man exhibition at the Clune Galleries in Sydney in 1965. "Art for Mart's Sake" sold out on the opening night.
One of the paintings exhibited featured in Shead's James Bond spoof Blunderball, made earlier that year. During the life of Australian OZ Sharp and Walsh were twice charged with printing an obscene publication; the first trial was minor, should have been a non-event, but they were poorly advised and pleaded guilty, which resulted in their convictions being recorded. As a result, when they were charged with obscenity a second time, their previous convictions meant that the new charges were more serious; the charges centred on two items in the early issues of OZ—one was Sharp's ribald poem "The Word Flashed Around The Arms", which satirised the contemporary habit of youths gatecrashing parties. Sharp and Walsh were tried and sentenced to prison, their convictions caused a public outcry and they were subsequently acquitted on appeal, but the so-called "OZ Three" realised that there was little future battling such strong opposition. In 1966 Sharp published a selection of cartoons in the book Martin Sharp Cartoons.
"Swinging London" was a mecca for young artists and musicians, after the OZ trials and Neville needed little encouragement to leave Australia. They set off on an overland trek through Asia, parting company in Kathmandu and making their separate ways to London. On arrival, Sharp stayed for a short time with Neville's sister, writer Jill Neville in Knightsbridge before sharing a Chelsea studio with photographer Robert Whitaker, it was at this time that he was introduced to a musician in The Speakeasy. During the evening, Sharp told the musician about a poem he had written. Sharp obligingly wrote out the poem and his address on a serviette and gave it to his new acquaintance; the musician turned out to be guitarist Eric Clapton. The song that resulted from the meeting, "Tales of Brave Ulysses", was recorded as the B-side of Cream's smash hit "Strange Brew" and was included on Cream's second album Disraeli Gears, his friendship with Clapton led to the commission to design the famous'dayglo' psychedelic collage cover for that album, which included painted photographs by Sharp's friend Robert Whitaker, whom Sharp knew from Australia and whose studio was in the same building where Sharp lived.
The following year Sharp designed the gatefold sleeve for Cream's third album, the double LP Wheels of Fire, for which he won the New York Art Directors Prize for Best Album Design in 1969. He designed the cover for the eponymous debut L. P. of London underground band Mighty Baby. Not long after his meeting with Clapton, Sharp moved into The Pheasantry at 152 Kings Road, Chelsea, a Georgian building; as the name suggests, the site was used to raise pheasants for the royal household. In the early 1900s, it was the home of Eleanor Thornton, the favourite model of artist and sculptor Charles Sykes. Thornton is believed to have been the model for Sykes' most famous work, his Rolls Royce mascot the Spirit of Ecstasy. In the 1920s and 1930s, it housed the studio of dance teacher Serafina Astafieva, who trained several of Diaghilev's Ballets Russes dancers and who taught prima ballerinas Alicia Markova and Margot Fonteyn. By the time Sharp moved in, The Pheasantry was a well-known'artists' colony', its rooms rented out as apartments and residential studio spa
William Bell (singer)
William Bell is an American soul singer and songwriter. As a performer, he is best known for his debut single, 1961's "You Don't Miss Your Water". Upon the death of Otis Redding, Bell released the well-received memorial song "A Tribute to a King"; as a songwriter, Bell co-authored the Chuck Jackson hit "Any Other Way" as a follow-up to "You Don't Miss Your Water". Although he was a long-time recording artist for Stax Records, he is unrelated to the label's one-time president, Al Bell. Bell was born in Tennessee, he took the last name "Bell" as a stage name in honor of his grandmother, whose first name was Belle. He made his first leap into the music scene backing Rufus Thomas. In 1957, Bell recorded his first sides as a member of the Del Rios. William Bell was an early signing on Stax Records as a songwriter. Other notable Stax Records artists include Otis Redding and Dave, Isaac Hayes, The Staple Singers, it was only after Bell served a stint in the military that he was able to release his debut album, 1967's The Soul of a Bell, on Stax Records.
Bell's Top 20 single "Everybody Loves a Winner" was on this album. Bell moved to Atlanta, Georgia, in 1969 and started up Peachtree Record Company, his short-lived soul label. In 1985, he founded another label and issued Passion, which found its most receptive audiences in the UK. Two years Bell was inducted into the Georgia Music Hall of Fame and received the Rhythm & Blues Foundation's R&B Pioneer Award that same year. Starting in 1992, Bell took a hiatus from the recording studio. In 2000, he released an album of all-new material on Wilbe entitled A Portrait Is Forever. In 2003, he was honored with the W. C. Handy Heritage Award, it wasn't until six years after his previous album. In 2016, Bell reactivated the Stax Record Label to release a new album. Produced by John Leventhal, This Is Where I Live featured Bell performing a batch of new songs, along with a revived recording of "Born Under a Bad Sign". In 2017, the album was awarded a Grammy for'Best Americana Album,' which took Bell's career to new heights including a featured performance alongside other legendary Stax acts at BBC's'50 Years of Soul' event at Royal Albert Hall in London, UK.
Additionally, William was one of the final performances at BB King's Blues Club in NYC before it closed in the spring of 2018. Linda Ronstadt covered "Everybody Loves A Winner" on her 1973 album Don't Cry Now. Homer Simpson of The Simpsons sang "Born Under A Bad Sign" on the 1990 album The Simpsons Sing The Blues. Cream covered "Born Under A Bad Sign" on their 1968 album Wheels of Fire. Jimi Hendrix covered "Born Under A Bad Sign" on his album Blues, released posthumously in 1994. Etta James covered "Born Under A Bad Sign" on her album Life and the Blues released in 1998. Warren Haynes covered "Every Day Will Be Like a Holiday" on his 2011 album Man In Motion. Carole King covered "Every Day Will Be Like a Holiday" on her 2011 album A Holiday Carole. Hall & Oates covered "Every Day Will Be Like a Holiday" on their 2006 album Home for Christmas; the Byrds covered "You Don't Miss Your Water" on their 1968 album Sweetheart of the Rodeo. The Revelations and Tre Williams covered "I Forgot to Be Your Lover" on the 2012 soundtrack of the film The Man with the Iron Fists.
Robert Cray covered "Forgot To Be Your Lover" on his 2005 album "Twenty" In 2003 he was received both the W. C. Handy Heritage Award from the BMI Songwriter's Award, he is featured in the Stax Museum of American Soul Music from his time with the label. In 2016, Bell was awarded a Lifetime Achievement Award by the Americana Music Association, he was joined by other legendary Americana acts such as Bob Weir, Shawn Colvin, Billy Bragg. Bell was inducted into the Memphis Music Hall of Fame as part of the 2016 class. In 2016, Bell was nominated for two Grammy awards: Best Americana Album for This is Where I Live and Best Traditional R&B Performance for the track "The Three of Me". On February 12, 2017, Bell won. Bell performed at the Smithsonian Folklife Festival in Washington DC in 2011, he joined the Memphis Symphony Orchestra in 2012. He sang "You Don't Miss Your Water" at the White House for "In Performance at the White House: Memphis Soul" in 2013, he performed at Billboard Live in Tokyo in 2015. In 2015 he performed at the Memphis Music Hall of Fame induction ceremony alongside Justin Timberlake.
In 2016, Bell recorded his first major label album in over 30 years. His song "You Don't Miss Your Water" is featured in the trailer and the first episode of the Cinemax TV series Quarry, which debuted in 2016. On 1 September 2017, age 78, Bell performed live at the Royal Albert Hall BBC Proms with Jools Holland and his Rhythm & Blues Orchestra in a tribute concert to 50 years of Stax Records synonymous with Southern Soul music. 1967 The Soul of a Bell – Stax 709 1969 Bound to Happen – Stax 2014 1971 Wow... William Bell – Stax 2037 1972 Phases of Reality – Stax 3005 1973 Waiting for William Bell – Stax 3012 1974 Relating – Stax 5502 1977 Coming Back for More – Mercury 1977 It's Time You Took Another Listen – Mercury 1983 Survivor – Kat Family 1985 Passion – Wilbe 1989 On a Roll – Wilbe 1992 Bedtime Stories – Wilbe 2001 A Portrait Is Forever – Wilbe 2002
Sitting on Top of the World
"Sitting on Top of the World" is a country blues song written by Walter Vinson and Lonnie Chatmon. They were core members of the Mississippi Sheiks, who first recorded it in 1930. Vinson claimed to have composed the song one morning after playing at a white dance in Greenwood, Mississippi, it became a popular crossover hit for the band, was inducted into the Grammy Hall of Fame in 2008."Sitting on Top of the World" has become a standard of traditional American music. The song has been recorded in a variety of different styles – folk, country, rock – with considerable variations and/or additions to the original verses; the lyrics of the original song convey a stoic optimism in the face of emotional setbacks, the song has been described as a "simple, elegant distillation of the Blues". In 2018, it was selected for preservation in the National Recording Registry by the Library of Congress as being "culturally or artistically significant." The title line of "Sitting on Top of the World" is similar to a well-known popular song of the 1920s, "I'm Sitting on Top of the World", written by Ray Henderson, Sam Lewis and Joe Young.
However the two songs are both musically and lyrically. Similarities have been noted that "Sitting on Top of the World" was derived from an earlier song by Leroy Carr and Scrapper Blackwell, "You Got To Reap What You Sow". Tampa Red used the same melody in his version from the same year. In May 1930, Charlie Patton recorded a version of the song called "Some Summer Day" During the next few years renditions of "Sitting on Top of the World" were recorded by a number of artists: the Two Poor Boys, Doc Watson, Big Bill Broonzy, Sam Collins, Milton Brown and His Musical Brownies, Bob Wills & His Texas Playboys. After Milton Brown recorded it for Bluebird Records the song became a staple in the repertoire of western swing bands. Lyrically "Sitting Top of the World" has a simple structure consisting of a series of rhyming couplets, each followed by the two-line chorus; the structural economy of the song seems to be conducive to creative invention, giving the song a dynamic flexibility exemplified by the numerous and diverse versions that exist.
Harmonically the song differs from a standard 12 bar blues, though the original has a bluesy harmonic feeling, including blue notes in the melody, there is some disagreement about whether it is a blues. "Sitting Top of the World" is a strophic nine-bar blues. Bar nine provides rhythmic separation between stanzas, the end of one stanza and the large pickup at the beginning of the next; the numerous versions of "Sitting Top of the World" recorded since 1930 have been characterized by variations to the original lyrics, as recorded by the Mississippi Sheiks in 1930. "Sittin' on Top of the World", recorded by Howlin' Wolf in 1957, is a well-known and used version of this song. This was the version recorded by Cream in 1968. Howlin' Wolf shortened the song to just three verses; the first and third verses are similar to the second and fifth verses of the Mississippi Sheiks' song. The middle verse of Howlin' Wolf's version – "Worked all the summer, worked all the fall / Had to take Christmas, in my overalls" – was an addition to the 1930 original, but had appeared in a version recorded by Ray Charles in 1949.
The'peaches' verse has a long history in popular music. It appears as the chorus of an unpublished song composed by Irving Berlin in May 1914: "If you don't want my peaches / You'd better stop shaking my tree"; the song "Mamma's Got the Blues", written by Clarence Williams and S. Martin and recorded by Bessie Smith in 1923, has the line: "If you don't like my peaches let my orchard be". In her version of "St. Louis Blues", Ella Fitzgerald sang, "If you don't like my peaches, why do you shake my tree? / Stay out of my orchard, let my peach tree be". In 1929 Blind Lemon Jefferson recorded "Peach Orchard Mama". In years lines using similar imagery were used in "Matchbox" by Carl Perkins and Jerry Lee Lewis. Ahmet Ertegun was able to convince Miller to pay him US$50,000, claiming authorship of the line in his song "Lovey Dovey"; this verse and its ubiquitous usage is an example of the tradition of floating lyrics in folk-music tradition.'Floating lyrics' have been described as "lines that have circulated so long in folk communities that tradition-steeped singers call them to mind and rearrange them and unconsciously, to suit their personal and community aesthetics".
Bob Wills The Shelton Brothers Light Crust Doughboys Ray Charles Sonny Terry & Brownie McGhee Howlin' Wolf Bill Monroe Doc Watson on his self-titled, debut album Grateful Dead from The Grateful Dead Chet Atkins from Hometown Guitar Cream from Wheels of Fire Cream from Goodbye Howlin' Wolf from Howlin' Wolf London Sessions Don McLean from "Playin' Favorites" Chris Smither from It Ain't Easy The Seldom Scene from 15th Anniversary Celebration Nitty Gritty Dirt Band from Will the Circle Be Unbr
William James Dixon was an American blues musician, songwriter and record producer. He was proficient in playing both the upright bass and the guitar, sang with a distinctive voice, but he is best known as one of the most prolific songwriters of his time. Next to Muddy Waters, Dixon is recognized as the most influential person in shaping the post–World War II sound of the Chicago blues. Dixon's songs have been recorded by countless musicians in many genres as well as by various ensembles in which he participated. A short list of his most famous compositions includes "Hoochie Coochie Man", "I Just Want to Make Love to You", "Little Red Rooster", "My Babe", "Spoonful", "You Can't Judge a Book by the Cover"; these songs were written during the peak years of Chess Records, from 1950 to 1965, were performed by Muddy Waters, Howlin' Wolf, Little Walter, Bo Diddley. Dixon was an important link between the blues and rock and roll, working with Chuck Berry and Bo Diddley in the late 1950s, his songs have been covered by some of the most successful musicians of the past sixty years including Bob Dylan and Jimi Hendrix.
Jeff Beck, The Doors, Led Zeppelin, The Rolling Stones and Steppenwolf all featured at least one of his songs on their debut albums, a measure of his influence on rock music. He received a Grammy Award and was inducted into the Blues Hall of Fame, the Rock and Roll Hall of Fame, the Songwriters Hall of Fame. Dixon was born in Vicksburg, Mississippi, on July 1, 1915, he was one of fourteen children. His mother, Daisy rhymed things she said, a habit her son imitated. At the age of seven, young Dixon became an admirer of a band that featured pianist Little Brother Montgomery, he sang his first song at Springfield Baptist Church at the age of four Dixon was first introduced to blues when he served time on prison farms in Mississippi as a young teenager. In his teens, he learned how to sing harmony from a local carpenter, Theo Phelps, who led a gospel quintet, the Union Jubilee Singers, in which Dixon sang bass, he began adapting his poems into songs and sold some to local music groups. Dixon left Mississippi for Chicago in 1936.
A man of considerable stature, standing 6 and a half feet tall and weighing over 250 pounds, he took up boxing, at which he was successful, winning the Illinois State Golden Gloves Heavyweight Championship in 1937. He became a professional boxer and worked as Joe Louis's sparring partner, but after four fights he left boxing in a dispute with his manager over money. Dixon met Leonard Caston at a boxing gym. Dixon performed in several vocal groups in Chicago, but it was Caston that persuaded him to pursue music seriously. Caston built him his first bass, made of one string. Dixon's experience singing bass made the instrument familiar, he learned to play the guitar. In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne; the group blended blues and vocal harmonies, in the mode of the Ink Spots. Dixon's progress on the upright bass came to an abrupt halt with the advent of World War II, when he refused induction into military service as a conscientious objector and was imprisoned for ten months.
He refused to go to war because he would not fight for a nation in which institutionalized racism and racist laws were prevalent. After the war, he formed, he reunited with Caston, forming the Big Three Trio, which went on to record for Columbia Records. Dixon signed with Chess Records as a recording artist, but he began performing less, being more involved with administrative tasks for the label. By 1951, he was a full-time employee at Chess, where he acted as producer, talent scout, session musician and staff songwriter, he was a producer for the Chess subsidiary Checker Records. His relationship with Chess was sometimes strained, but he stayed with the label from 1948 to the early 1960s. During this time Dixon's output and influence were prodigious. From late 1956 to early 1959, he worked in a similar capacity for Cobra Records, for which he produced early singles for Otis Rush, Magic Sam, Buddy Guy, he recorded for Bluesville Records. From the late 1960s until the mid-1970s, Dixon ran his own record label, Yambo Records, two subsidiary labels and Spoonful.
He released his 1971 album, Peace?, on Yambo and singles by McKinley Mitchell, Lucky Peterson and others. Dixon is considered one of the key figures in the creation of Chicago blues, he worked with Chuck Berry, Muddy Waters, Howlin' Wolf, Otis Rush, Bo Diddley, Joe Louis Walker, Little Walter, Sonny Boy Williamson, Koko Taylor, Little Milton, Eddie Boyd, Jimmy Witherspoon, Lowell Fulson, Willie Mabon, Memphis Slim, Washboard Sam, Jimmy Rogers, Sam Lay and others. In December 1964, the Rolling Stones reached number one on the UK Singles Chart with their cover of Dixon's "Little Red Rooster". In the same year, the group covered "I Just Want To Make Love To You" on their debut album, The Rolling Stones. In his years, Dixon became a tireless ambassador for the blues and a vocal advocate for its practitioners, founding the Blues Heaven Foundation, which works to preserve the legacy of the blues and to secure copyrights and royalties for blues musicians who were exploited in the past. Speaking with the simple eloquence, a hallmark of his songs, Dixon claimed, "The blues are the roots and the other musics are the fruits.
It's better keeping the roots alive. The blues are the roots of all American music; as long as Americ
Peter Ronald Brown is an English performance poet and singer best known for his collaborations with Cream and Jack Bruce. Brown formed the bands Pete Brown & His Battered Ornaments and Pete Brown & Piblokto! and worked with Graham Bond and Phil Ryan. He writes film scripts and formed a film production company. Brown was born in Surrey. Before his involvement with music, he was a poet, having his first poem published in the U. S. magazine Evergreen Review when he was 14. He became part of the poetry scene in Liverpool during the 1960s and in 1964 was the first poet to perform at Morden Tower in Newcastle, he formed The First Real Poetry Band with John McLaughlin, Binky McKenzie, Laurie Allan and Pete Bailey. The First Real Poetry Band brought Brown to the attention of Cream, he was seen as a writing partner for drummer Ginger Baker, but the group discovered that he worked better with bassist Jack Bruce. Of the situation, Bruce remarked "Ginger and Pete were at my flat trying to work on a song but it wasn't happening.
My wife Janet got with Ginger and they wrote'Sweet Wine' while I started working with Pete."Together and Bruce wrote many of Cream's songs, including the hits "I Feel Free", "White Room" and "SWLABR" and "Sunshine of Your Love". After the break-up of Cream and Brown continued to write songs together. Brown wrote the lyrics for most of Bruce's solo albums. Brown formed Pete Brown and His Battered Ornaments in 1968, in 1969 the band recorded two albums. Brown suffered the ignominy of being thrown out of his own band, the day before they were due to support the Rolling Stones at Hyde Park, his vocals were removed from Mantlepiece and re-recorded by Chris Spedding, the band was renamed The Battered Ornaments.'Piblokto!' was formed after Brown's dismissal from the Battered Ornaments, was active between 1969 and 1971. The original Piblokto! members were. Most of their releases were for Harvest Records. Allen was replaced by their drummer Rob Tait, they released their first single "Living Life Backwards" / "High Flying Electric Bird", followed by the album Things May Come and Things May Go but the Art School Dance Goes on Forever.
Bunn was replaced by Steve Glover for their second single, "Can't Get Off The Planet" / "Broken Magic" and the LP, Thousands on a Raft. Mullen and Tait left, so Brown and Glover were joined by Phil Ryan on keyboards, John'Pugwash' Weathers on drums and Brian Breeze on guitar; this line-up only recorded one single, "Flying Hero Sandwich"/"My Last Band". Weathers and Breeze both departed, to be replaced by guitarist Taff Williams and drummer Ed Spevock, before disbanding in Autumn 1971. Pete Brown went on to work with Graham Bond. Both albums, all three singles and several bonus tracks were reissued on a double album CD BGOCD522 in 2001; the band's name was taken from the Inuit word for "Arctic Hysteria", with symptoms including hysteria and echolalia. After Piblokto!, Brown started to work with Graham Bond, with input from Jack Bruce and Bond's wife, Diane Stewart. In 1972 they recorded one album, Two Heads Are Better Than One, a single, "Lost Tribe", much of the soundtrack to the film Maltamour before Bond left to form Magus in 1973.
Brown formed Brown and Friends, Flying Tigers but neither group got beyond producing demos. He recorded an album of his early poems, The Not Forgotten Association, in 1973 before recording with members of Back to the Front, including an album, Party in The Rain, recorded in 1976, but not released until 1982. On the rise of punk, he wrote film scripts, he wrote a film score for a BBC TV film, with Phil Ryan, in a late Piblokto! line-up. They collaborated for 12 years, Brown formed his own label Interoceter, which issued two Pete Brown/Phil Ryan albums: Ardours of the Lost Rake and Coals to Jerusalem, they began touring in 1993, a compilation of the two albums was issued on CD as The Land That Cream Forgot. In the 1990s Brown appeared with The Interoceters, performing his earlier material. A new Brown/Ryan album Road of Cobras, including Maggie Bell, Arthur Brown, Mick Taylor and Jim Mullen, was released in 2010. In 2004 he formed a film production company, with Mark A. J. Waters and Miran Hawke.
In 2010 he published Imaginary Westerns. A film with the same title is in production by Brown Waters. Pete Brown partnered with Gary Brooker writing lyrics for songs in Procol Harum's 2017 album Novum. "Pete the Poet", a track on guitarist John McLaughlin's debut album Extrapolation, is named after him. "Get", a song by Blurt about him and his model aeroplane collection. "Student Susan", a track on Japanese guitarist Saiichi Sugiyama's album So Am I, which Brown wrote with Sugiyama, is named after the former girlfriend of Stuart Sutcliffe of the Beatles whom Brown went out with in the Liverpool poetry scene in the early 1960s. Few Poems Let'Em Roll, Kafka The Old Pals' Ac
In music, an arrangement is a musical reconceptualization of a composed work. It may differ from the original work by means of reharmonization, melodic paraphrasing, orchestration, or development of the formal structure. Arranging differs from orchestration in that the latter process is limited to the assignment of notes to instruments for performance by an orchestra, concert band, or other musical ensemble. Arranging "involves adding compositional techniques, such as new thematic material for introductions, transitions, or modulations, endings.... Arranging is the art of giving an existing melody musical variety". Arrangement and transcriptions of classical and serious music go back to the early history of this genre. In particular, music written for the piano has undergone this treatment. Pictures at an Exhibition, a suite of ten piano pieces by Modest Mussorgsky, has been arranged over twenty times, notably by Maurice Ravel. Due to his lack of expertise in orchestration, the American composer George Gershwin had his Rhapsody in Blue orchestrated and arranged by Ferde Grofé.
Popular music recordings include parts for brass and other instruments that were added by arrangers and not composed by the original songwriters. Popular music arrangements may be considered to include new releases of existing songs with a new musical treatment; these changes can include alterations to tempo, key and other musical elements. Well-known examples include Joe Cocker's version of the Beatles' "With a Little Help from My Friends," Cream's "Crossroads", Ike and Tina Turner's version of Creedence Clearwater Revival's "Proud Mary"; the American group Vanilla Fudge and British group Yes based their early careers on radical re-arrangements of contemporary hits. Bonnie Pointer performed disco and Motown-themed versions of "Heaven Must Have Sent You." Remixes, such as in dance music, can be considered arrangements. Though arrangers may contribute to finished musical products, they hold no legal claim to their work for the purpose of copyright and royalty payments. Arrangements for small jazz combos are informal and uncredited.
Larger ensembles have had greater requirements for notated arrangements, though the early Count Basie big band is known for its many head arrangements, so called because they were worked out by the players themselves and never written down. Most arrangements for big bands, were written down and credited to a specific arranger, as with arrangements by Sammy Nestico and Neal Hefti for Count Basie's big bands. Don Redman made innovations in jazz arranging as a part of Fletcher Henderson's orchestra in the 1920s. Redman's arrangements introduced a more intricate melodic presentation and soli performances for various sections of the big band. Benny Carter became Henderson's primary arranger in the early 1930s, becoming known for his arranging abilities in addition to his previous recognition as a performer. Beginning in 1938, Billy Strayhorn became an arranger of great renown for the Duke Ellington orchestra. Jelly Roll Morton is sometimes considered the earliest jazz arranger. While he toured around the years 1912 to 1915, he wrote down parts to enable "pickup bands" to perform his compositions.
Big-band arrangements are informally called charts. In the swing era they were either arrangements of popular songs or they were new compositions. Duke Ellington's and Billy Strayhorn's arrangements for the Duke Ellington big band were new compositions, some of Eddie Sauter's arrangements for the Benny Goodman band and Artie Shaw's arrangements for his own band were new compositions as well, it became more common to arrange sketchy jazz combo compositions for big band after the bop era. After 1950, the big bands declined in number. However, several bands continued and arrangers provided renowned arrangements. Gil Evans wrote a number of large-ensemble arrangements in the late 1950s and early 1960s intended for recording sessions only. Other arrangers of note include Vic Schoen, Pete Rugolo, Oliver Nelson, Johnny Richards, Billy May, Thad Jones, Maria Schneider, Bob Brookmeyer, Lou Marini, Nelson Riddle, Ralph Burns, Billy Byers, Gordon Jenkins, Ray Conniff, Henry Mancini, Ray Reach, Vince Mendoza, Claus Ogerman.
In the 21st century, the big-band arrangement has made a modest comeback. Gordon Goodwin, Roy Hargrove, Christian McBride have all rolled out new big bands with both original compositions and new arrangements of standard tunes; the string section is a body of instruments composed of various stringed instruments. By the 19th century orchestral music in Europe had standardized the string section into the following homogeneous instrumental groups: first violins, second violins, violas and double basses; the string section in a multi-sectioned orchestra is referred sometimes to as the "string choir."The harp is a stringed instrument, but is not a member of nor homogeneous with the violin family and is not considered part of the string choir. Samuel Adler classifies the harp as a plucked string instrument in the same category as the guitar, banjo, or zither. Like the harp these instruments do not belong to the violin family and are not homogeneous with the string choir. In modern arranging these instruments are considered part of the rhythm section.
The electric bass and upright string bass—depending on the circumstance—can be treated by the arranger as either string section or rhythm section instruments. A group of instruments in which each member plays a unique part—rather than playing in u