The Orb are an English electronic music group founded in 1988 by Alex Paterson and The KLF member Jimmy Cauty. Beginning as ambient and dub DJs in London, their early performances were inspired by electronic artists of the 1970s and 1980s, most notably Brian Eno and Kraftwerk; because of their psychedelic sound, the Orb developed a cult following among clubbers "coming down" from drug-induced highs. The Orb have maintained their drug-related science fiction themes despite personnel changes, including the departure of Cauty and members Kris Weston, Andy Falconer, Simon Phillips, Nick Burton, Andy Hughes. Paterson has been the only permanent member, continuing to work as the Orb with Swiss-German producer Thomas Fehlmann and with Martin "Youth" Glover, bassist of Killing Joke. Beyond recognition on their albums and concerts, his unauthorised use of other artists' works has led to disputes with musicians, most notably with Rickie Lee Jones. During their live shows of the 1990s, the Orb performed using digital audio tape machines optimised for live mixing and sampling before switching to laptops and digital media.
Despite changes in performance method, the Orb maintained their colourful light shows and psychedelic imagery in concert. These visually intense performances prompted critics to compare the group to Pink Floyd, they released their fifteenth studio album, No Sounds Are Out of Bounds, on 22 June 2018 via Cooking Vinyl. Alex Paterson began his music career in the early 1980s as a roadie for the post-punk rock band Killing Joke, for whom his childhood friend Martin "Youth" Glover played bass. After leaving Killing Joke in 1986, Paterson met future KLF member Jimmy Cauty and the duo began DJ-ing and producing music together under the name The Orb. Paterson and Cauty's first release was a 1988 acid house anthem track, "Tripping on Sunshine", released on the German record compilation Eternity Project One; the following year, the Orb released the Kiss EP, a four-track EP based on samples from New York City's KISS FM. It was released on Paterson and Glover's new record label WAU! Mr. Modo Records, which they created out of a desire to maintain financial independence from larger record labels.
After spending a weekend of making what Paterson described as "really shit drum sounds", the duo decided to abandon beat-heavy music and instead work on music for after-hours listening by removing the percussion tracks. Paterson and Cauty began DJ-ing in London and landed a deal for the Orb to play the chill out room at London nightclub Heaven. Resident DJ Paul Oakenfold brought in the duo as ambient DJs for his "The Land of Oz" event at Heaven. Though the Orb's Monday night performances had only several hardcore followers their chill-out room act grew popular over the course of their six-month stay to the point that the room was packed with around 100 people; the Orb's performances became most popular among weary DJs and clubbers seeking solace from the loud, rhythmic music of the dancefloor. The Orb built up melodies using multitrack recordings linked to a mixer; the group incorporated many CDs, BBC sound effects into the act accompanied with pieces of popular dance tracks such as "Sueño Latino".
Though the group used a variety of samples, they avoided heavy rhythm and drums so that the intended ambient atmosphere was not disrupted. Most the group played dub and other chill-out music, which it described as ambient house for the E generation. Throughout 1989 the Orb, along with Martin Glover, developed a music production style that incorporated ambient music with a diverse array of samples and recordings; the British music press labelled the music ambient house. The culmination of the group's musical work came toward the end of the same year when they recorded a session for John Peel on BBC Radio 1; the track known as "Loving You," was improvisational and featured a wealth of sound effects and samples from science fiction radio plays, nature sounds, Minnie Riperton's "Lovin' You". For its release as a single on the record label Big Life, the Orb changed the title to "A Huge Ever Growing Pulsating Brain That Rules from the Centre of the Ultraworld". Upon the single's release, Riperton's management forced Big Life to remove the unlicensed Riperton sample, ensuring that only the initial first-week release of the single contained the original vocals of Minnie Riperton.
Despite its running time of 22 minutes, the sample-laden single reached #78 on the British singles charts. Soon thereafter, the Orb were commissioned by Dave Stewart to remix his top-20 single "Lily Was Here"; the group obliged and were soon offered several more remix jobs from artists including Erasure and System 7. In 1990, Paterson and Cauty held several recording sessions at Trancentral; when offered an album deal by Big Life, the Orb found themselves at a crossroads: Cauty preferred that the Orb release their music through his KLF Communications label, whereas Paterson wanted to ensure that the group did not become a side-project of the KLF. Because of these issues and Paterson split in April 1990, with Paterson keeping the name the Orb; as a result of the break-up, Cauty removed Paterson's contributions from the in-progress recordings and released the album as Space on KLF Communications. Out of these sessions came the KLF album Chill Out, on which Paterson appeared in an uncredited role.
Following the split, Paterson began working with Youth on the track "Little Fluffy Clouds". The group incorporated samples from Steve Reich's Electric Counterpoint; the signature of the piece centres around the repeated phrases sampled from the voice of singer/songwriter Rickie Lee Jones, her spaced-out childlike ramble taken from a promotional CD released by Geffe
Electronic music is music that employs electronic musical instruments, digital instruments and circuitry-based music technology. In general, a distinction can be made between sound produced using electromechanical means, that produced using electronics only. Electromechanical instruments include mechanical elements, such as strings, so on, electric elements, such as magnetic pickups, power amplifiers and loudspeakers. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, the electric guitar, which are made loud enough for performers and audiences to hear with an instrument amplifier and speaker cabinet. Pure electronic instruments do not have vibrating strings, hammers, or other sound-producing mechanisms. Devices such as the theremin and computer can produce electronic sounds; the first electronic devices for performing music were developed at the end of the 19th century, shortly afterward Italian futurists explored sounds that had not been considered musical.
During the 1920s and 1930s, electronic instruments were introduced and the first compositions for electronic instruments were made. By the 1940s, magnetic audio tape allowed musicians to tape sounds and modify them by changing the tape speed or direction, leading to the development of electroacoustic tape music in the 1940s, in Egypt and France. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds. Music produced from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers to compose music. Algorithmic composition with computers was first demonstrated in the 1950s. In the 1960s, live electronics were pioneered in America and Europe, Japanese electronic musical instruments began influencing the music industry, Jamaican dub music emerged as a form of popular electronic music. In the early 1970s, the monophonic Minimoog synthesizer and Japanese drum machines helped popularize synthesized electronic music.
In the 1970s, electronic music began having a significant influence on popular music, with the adoption of polyphonic synthesizers, electronic drums, drum machines, turntables, through the emergence of genres such as disco, new wave, synth-pop, hip hop and EDM. In the 1980s, electronic music became more dominant in popular music, with a greater reliance on synthesizers, the adoption of programmable drum machines such as the Roland TR-808 and bass synthesizers such as the TB-303. In the early 1980s, digital technologies for synthesizers including digital synthesizers such as the Yamaha DX7 were popularized, a group of musicians and music merchants developed the Musical Instrument Digital Interface. Electronically produced music became prevalent in the popular domain by the 1990s, because of the advent of affordable music technology. Contemporary electronic music includes many varieties and ranges from experimental art music to popular forms such as electronic dance music. Today, pop electronic music is most recognizable in its 4/4 form and more connected with the mainstream culture as opposed to its preceding forms which were specialized to niche markets.
At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments. These initial inventions were not sold, but were instead used in demonstrations and public performances; the audiences were presented with reproductions of existing music instead of new compositions for the instruments. While some were considered novelties and produced simple tones, the Telharmonium synthesized the sound of orchestral instruments, it achieved viable public interest and made commercial progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments. Ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments, he predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music. Futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery.
They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises. Developments of the vacuum tube led to electronic instruments that were smaller and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s. From the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them, they were used within orchestras, most composers wrote parts for the theremin that could otherwise be performed with string instruments. Avant-garde composers criticized the predominant use of electronic instruments for conventional purposes; the instruments offered expansions in pitch resources that were exploited by advocates of microtonal music such as Charles Ives, Dimitrios Levidis, Olivier Messiaen and Edgard Varèse. Further, Percy Grainger used the theremin to abandon fixed tonation while Russian composers such as Gavriil Popov treated it as a source of noise in otherwise-acoustic noise music.
Developments in early recording technology paralleled that of electronic instruments. The first means of recording and reproducing audio was invented in the late 19th century with the mechanical phonograph. Record players became a common household item, by the 1920s comp
Bryan Ferry CBE is an English singer and songwriter. His baritone voice has been described as an "elegant, seductive croon", he established a distinctive image and sartorial style. Peter York described Ferry as "an art object" who "should hang in the Tate". Ferry came to prominence as the lead vocalist and principal songwriter with the glam art rock band Roxy Music, achieving three no. 1 albums and 10 singles which reached the top 10 in the UK between 1972 and 1982. Their singles included "Virginia Plain", "Street Life", "Love is the Drug", "Dance Away", "Angel Eyes", "Over You", "Oh Yeah", "Jealous Guy", "Avalon", "More Than This". Ferry began his solo career in 1973, his early solo hits include "A Hard Rain's a-Gonna Fall", "Let's Stick Together" and "This Is Tomorrow". Ferry disbanded Roxy Music following the release of their best-selling album Avalon in 1982 to concentrate on his solo career, releasing further singles such as "Slave to Love" and "Don't Stop the Dance" and the UK no. 1 album Boys and Girls in 1985.
When his sales as a solo artist and as a member of Roxy Music are combined, Ferry has sold over 30 million albums worldwide. As well as being a prolific songwriter himself, Ferry has recorded many cover versions of other artists' songs, including standards from the Great American Songbook, in albums such as These Foolish Things, Another Time, Another Place, Let's Stick Together and As Time Goes By, as well as Dylanesque, an album of Bob Dylan covers. In 2019, Ferry will be inducted into the Roll Hall of Fame as a member of Roxy Music. Ferry was born in Washington, County Durham, into a working-class family, attended Washington Grammar-Technical School on Spout Lane from 1957; as a child he had a job as a paperboy. He studied fine art at the University of Newcastle upon Tyne from 1964 until 1968, under Richard Hamilton for one year, his contemporaries included Tim Nick de Ville. During this period, Ferry was a member of the bands The Banshees, City Blues, The Gas Board, the latter of which featured Graham Simpson and John Porter.
He moved to London in 1968 and taught art and pottery at a school in Olympia, while pursuing a career in music. Ferry formed Roxy Music with a group of friends and acquaintances, beginning with Graham Simpson, in November 1970; the line-up was expanded to include saxophonist/oboist Andy Mackay and Brian Eno, an acquaintance who owned tape recorders and played Mackay's synthesiser. Other early members included timpanist Dexter Lloyd and ex-Nice guitarist David O'List, who were replaced by Paul Thompson and Phil Manzanera before the band recorded its first album. Roxy Music's first hit "Virginia Plain" made the UK top 5 in 1972, was followed up with several hit singles and albums, with Ferry as their lead vocalist and instrumentalist and Eno contributing synthesiser backing. After their second album, Brian Eno left Roxy Music. Ferry started a parallel solo career in 1973 performing cover versions of old standards on albums such as These Foolish Things and Another Time, Another Place, both of which reached the UK top 5.
After the concert tour in support of their fifth studio album Siren, Roxy Music temporarily disbanded in 1976, though band members Paul Thompson, Phil Manzanera and Eddie Jobson took part in recording Ferry's subsequent solo material. That year Ferry covered the Beatles' "She's Leaving Home" for the transitory musical documentary All This and World War II, he released three solo albums during this period, Let's Stick Together, In Your Mind and The Bride Stripped Bare. All three albums reached the UK top 20. Roxy Music reformed at the end of 1978 to record tracks for their sixth studio album Manifesto, released in early 1979 and reached no. 7 in the UK album charts, with Ferry, Manzanera and Mackay. The follow-up was 1980's Flesh + Blood, which reached no. 1 in the UK album charts, two years before the group's final studio release Avalon in 1982, which reached no. 1 in the UK album charts. The band achieved their first and only UK no. 1 single, "Jealous Guy", released in 1981 as a posthumous tribute to its author John Lennon, murdered two months earlier.
It was the only one of their singles not to be co-written by Ferry. After lengthy tours to promote the Avalon album, Ferry decided to disband Roxy Music in 1983 and continue as a solo artist. Ferry continued to record as a solo artist, released Boys and Girls, his sixth solo album, in 1985; the album reached no. 1 in the UK, his first and only solo recording to do so, became his biggest selling album in the US. In July 1985, Ferry performed at the London Live Aid show, accompanied by Pink Floyd guitarist David Gilmour; as with other successful Live Aid acts, his current album Boys and Girls remained in the UK chart for a year. After the Avalon promotional tours, Ferry was rather reluctant to return to live touring on the road. Following the tour, Ferry teamed again with Brian Eno for Mamouna; the album took more than five years to produce, was created under the working title Horoscope. During production, Ferry recorded and releas
Deborah Ann Harry is an American singer, songwriter and actress, known as the lead singer of the new wave band Blondie. Her recordings with the band reached the number-one charts place in the United States and the United Kingdom on many occasions through 1979 to 1981. Blondie's song "Rapture" is considered the first rap song to chart at number one in the US. Harry achieved success as a solo artist before re-forming Blondie in the late 1990s, her acting career includes credits in over television programs. Debbie Harry was born Angela Trimble on July 1, 1945, in Florida. At the age of three months, she was adopted by Richard Smith Harry and Catherine, gift shop proprietors in Hawthorne, New Jersey, renamed her Deborah Ann Harry. Harry learned of her adoption at four years old and in the late 1980s, located her birth mother, a concert pianist, who chose to not establish a relationship with her. Harry attended Hawthorne High School, graduating in 1963, she graduated from Centenary College in Hackettstown, New Jersey, with an Associate of Arts degree in 1965.
Before beginning her singing career, she moved to New York City in the late 1960s, worked there as a secretary at BBC Radio's office for one year. She was a waitress at Max's Kansas City, a go-go dancer in a Union City, New Jersey discothèque, a Playboy Bunny. In the late 1960s, Harry began her musical career as a backing singer for the folk rock group The Wind in the Willows, which released an eponymous album in 1968 on Capitol Records. In 1974, Harry joined the Stilettoes with Amanda Jones. Shortly thereafter, the band added guitarist Chris Stein. After leaving the Stilettoes and Stein formed Angel and the Snake with Tish Bellomo and Snooky Bellomo. Shortly thereafter and Stein formed Blondie, named after the catcall men directed at Harry after she bleached her hair blonde; the band became regulars at Max's Kansas City and CBGB in New York City. With her distinctive photogenic features and two-tone bleached-blonde hair, Harry became a punk icon. In June 1979, Blondie was featured on the cover of Rolling Stone.
Harry's persona, combining cool sexuality with streetwise style, became so associated with the group's name that many came to believe "Blondie" was the singer's name. The difference between the individual Harry and the band Blondie was emphasized by a "Blondie is a group" button campaign by the band in 1979. Blondie released their debut album in 1976, their second album, Plastic Letters, garnered some success outside the United States, but their third album, Parallel Lines, was a worldwide hit and catapulted the group to international success. It included the global hit single "Heart of Glass". Riding the crest of disco's domination, the track made #1 in the US and sold nearly two million copies, it reached #1 in the UK and was the second highest-selling single of 1979. The band's success continued with the release of the platinum-selling Eat to the Beat album in 1979. Autoamerican was released in 1980. Blondie had further #1 hits with "Call Me", "Atomic", "The Tide Is High", "Rapture". During this time, both Harry and Stein befriended graffiti artist Fab Five Freddy, who introduced them to the emerging hip-hop scene in the Bronx.
Freddy is mentioned in "Rapture" and makes an appearance in the video. Through him they were able to connect with Grandmaster Flash. Harry was immortalised by Andy Warhol in 1980, who produced a number of artworks of her image from a single photoshoot at the Factory; the artist created a small series of four acrylic and silkscreen ink on canvas portraits of the star in different colours, as well as Polaroids and a small number of rare silver gelatin prints from the shoot. Stein was present that day to capture Warhol photographing Harry in a series of his own photographs, exhibited in 2013 in London, her collaboration and friendship with Warhol continued and she was his first guest on the MTV show, Andy Warhol’s Fifteen Minutes. The first episode opened with Harry announcing the theme: "Sex, Vegetables and Sisters."Harry said of her relationship with Warhol, "I think the best thing taught me was always to be open to new things, new music, new style, new bands, new technology and just go with it.
Never get mired in the past and always accept new things whatever age you are." In 1981, Harry issued a press release to clarify that her name was not "Debbie Blondie" or "Debbie Harry" but rather Deborah Harry, though Harry described her character in the band as being named "Blondie", as in this quote from the No Exit tour book:Hi, it's Deb. You know. I was always Blondie. People always called me Blondie since I was a little kid. What I realized is that at some point I became Dirty Harry. I couldn't be Blondie anymore, so I became Dirty Harry. After a year-long hiatus, Blondie released their sixth studio album, The Hunter; the album was not as successful as their previous works, a world tour was cut short due to slow ticket sales. It was around this time that Stein fell ill with the rare autoimmune disease pemphigus, his illness, along with internal struggles, caused the band to split up. In 1997, Blondie began working together again for the first time in 15 years; the four original members began sessions for what would become Blondie's seventh studio album, No Exit.
Lambeth is a district in Central London, England, in the London Borough of Lambeth. It is situated 1 mile south of Charing Cross; the population of the London Borough of Lambeth was 303,086 in 2011. The area experienced some slight growth in the medieval period as part of the manor of Lambeth Palace. By the Victorian era the area had seen significant development as London expanded, with dense industrial and residential buildings located adjacent to one another; the changes brought by World War II altered much of the fabric of Lambeth. Subsequent development in the late 20th and early 21st centuries has seen an increase in the number of high-rise buildings; the area is home to the International Maritime Organization. The origins of the name of Lambeth come from its first record in 1062 as Lambehitha, meaning'landing place for lambs', in 1255 as Lambeth. In the Domesday Book, Lambeth is called "Lanchei" in error; the name refers to a harbour where lambs were either shipped to. It is formed from the Old English'lamb' and'hythe'.
South Lambeth is recorded as Sutlamehethe in 1241 and North Lambeth is recorded in 1319 as North Lamhuth. The manor of Lambeth is recorded as being under ownership of the Archbishop of Canterbury from at least 1190; the Archbishops led the development of much of the manor, with Archbishop Hubert Walter creating the residence of Lambeth Palace in 1197. Lambeth and the palace were the site of two important 13th-century international treaties. Edward, the Black Prince lived in Lambeth in the 14th century in an estate that incorporated the land not belonging to the Archbishops, which included Kennington; as such, much of the freehold land of Lambeth to this day remains under Royal ownership as part of the estate of the Duchy of Cornwall. Lambeth was the site of the principal medieval London residence of the Dukes of Norfolk, but by 1680 the large house had been sold and ended up as a pottery manufacturer, creating some of the first examples of English delftware in the country; the road names, Norfolk Place and Norfolk Row reflect the legacy of the house today.
Lambeth Palace lies opposite the southern section of the Palace of Westminster on the Thames. The two were linked by a horse ferry across the river; until the mid-18th century the north of Lambeth was marshland, crossed by a number of roads raised against floods. The marshland in the area, known as Lambeth Marshe, was drained in the 18th century but is remembered in the Lower Marsh street name. With the opening of Westminster Bridge in 1750, followed by the Blackfriars Bridge, Vauxhall Bridge and Lambeth Bridge itself, a number of major thoroughfares were developed through Lambeth, such as Westminster Bridge Road, Kennington Road and Camberwell New Road; until the 18th century Lambeth was still rural in nature, being outside the boundaries of central London, although it had experienced growth in the form of taverns and entertainment venues, such as theatres and Bear pits. The subsequent growth in road and marine transport, along with the development of industry in the wake of the industrial revolution brought great change to the area.
The area grew with an ever-increasing population at this time, many of whom were poor. As a result, Lambeth opened a parish workhouse in 1726. In 1777 a parliamentary report recorded a parish workhouse in operation accommodating up to 270 inmates. On 18 December 1835 the Lambeth Poor Law Parish was formed, comprising the parish of St Mary, Lambeth, "including the district attached to the new churches of St John, Kennington, Norwood", its operation was overseen by an elected Board of twenty Guardians. Following in the tradition of earlier delftware manufacturers, the Royal Doulton Pottery company had their principle manufacturing site in Lambeth for several centuries; the Lambeth factory closed in 1956 and production was transferred to Staffordshire. However the Doulton offices, located on Black Prince Road still remain as they are a listed building, which includes the original decorative tiling. Between 1801 and 1831 the population of Lambeth trebled and in ten years alone between 1831 and 1841 it increased from 87,856 in to 105,883.
The railway first came to Lambeth in the 1840s, as construction began which extended the London and South Western Railway from its original station at Nine Elms to the new terminus at London Waterloo via the newly constructed Nine Elms to Waterloo Viaduct. With the massive urban development of London in the 19th century and with the opening of the large Waterloo railway station in 1848 the locality around the station and Lower Marsh became known as Waterloo, becoming an area distinct from Lambeth itself; the Lambeth Ragged school was built in 1851 to help educate the children of destitute facilities, although the widening of the London and South Western Railway in 1904 saw the building reduced in size. Part of the school building still is occupied by the Beaconsfield Gallery; the Beaufoy Institute was built in 1907 to provide technical education for the poor of the area, although this stopped being an educational institution at the end of the 20th century. Lambeth Walk and Lambeth High Street were the two principle commercial streets of Lambeth, but today are predominantly residential in nature.
Lambeth Walk was site of a market for many years, which by 1938 had 159 shops, including 11 butchers. The street and surrounding roads, like most of Lambeth were extensively damaged in the Second World War; this included the complete destruction of the Victorian Swimming Baths in 1945, when a V2 Rocket hit the street resulting in the deaths of 37 peopl
Jaime Royal "Robbie" Robertson, OC, is a Canadian musician, film composer, producer and author. Robertson is best known for his work as lead guitarist and primary songwriter for The Band, for his career as a solo recording artist. Robertson's work with the Band was instrumental in creating the Americana music genre. Robertson has been inducted into the Rock and Roll Hall of Fame and the Canadian Music Hall of Fame as a member of the Band, has been inducted to Canada's Walk of Fame, both with the Band and on his own, he is ranked 59th in Rolling Stone magazine’s list of the 100 greatest guitarists. As a songwriter, Robertson is credited for writing "The Weight", "The Night They Drove Old Dixie Down", "Up on Cripple Creek", "Broken Arrow", "Somewhere Down the Crazy River", many others, he has been inducted into the Canadian Songwriters Hall of Fame, received a Lifetime Achievement Award from the National Academy of Songwriters. As a film soundtrack producer and composer, Robertson is known for his collaborations with director Martin Scorsese, which began with the rockumentary film The Last Waltz, continued through a number of dramatic films, including Raging Bull and Casino.
He has worked on many other soundtracks for television. Robertson was born Jaime Royal Klegerman on July 5, 1943, he was an only child. His mother was Rose Marie Chrysler, a Cayuga and Mohawk woman, raised on the Six Nations Reserve southwest of Toronto, Ontario. Chrysler lived with an aunt in the Cabbagetown neighborhood, worked at a jewelry plating factory. Robertson's biological father was a Jewish professional gambler named Alexander David Klegerman. Klegerman was killed in a run accident while changing a tire on the Queen Elizabeth Way. Robertson's mother married co-worker James Patrick Robertson. Robertson's parents continued to work at the jewelry plating factory where they met, lived in several homes in different Toronto neighborhoods while Robertson was a child, his mother traveled with him to the Six Nations Reserve to visit their family. It was here that Robertson was mentored in playing guitar by family members, in particular his older cousin Herb Myke, he became a fan of rock'n' roll and R&B through the radio, listening to disc jockey George "Hound Dog" Lorenz play rock'n' roll on WKBW in Buffalo, New York, staying up at night to listen to disc jockey John R.'s all-night blues show on WLAC, a clear-channel station in Nashville, Tennessee.
When Robertson was 14, he worked two brief summer jobs in the traveling carnival circuit, first for a few days in a suburb of Toronto, as an assistant at a freak show for three weeks during the Canadian National Exhibition. These experiences led to the Band song "Life is a Carnival" and to the 1980 movie Carny, which he would produce and in which he was a lead actor, he began playing in bands in 1957 with his friend Pete "Thumper" Traynor, who would found Traynor Amplifiers. His first band with Traynor was called Robbie and the Rhythm Chords, who became Robbie and the Robots after they saw the film Forbidden Planet and took a liking to the film's character Robby the Robot. Traynor customized Robertson's guitar for the Robots, fitting it with antennae and wires to give it a space age look. After Robbie and the Robots, he played with Little Caesar and the Consuls, with the Traynor-led combo the Suedes, which featured Scott Cushnie on piano. After the Suedes opened for the Arkansas-based rockabilly group Ronnie Hawkins and the Hawks at Dixie Arena, Hawkins hired Robertson for the Hawks' road crew.
Hawkins recorded two songs co-credited to Robertson, "Hey Baba Lou" and "Someone Like You", for his album Mr. Dynamo, brought Robertson to the Brill Building in New York City to help him choose songs for the rest of the album. Hawkins hired pianist Scott Cushnie away from the Suedes, took him on tour with Ronnie Hawkins and the Hawks in Arkansas; when the Hawks' bass player left the group, Cushnie recommended that Hawkins hire Robertson to replace him on bass. Hawkins invited him to come to Arkansas, flew to the UK to perform on television there, leaving Robertson in Arkansas with the Hawks. Meanwhile, Robertson practiced intensively each day. Upon returning, Hawkins hired him to play bass. Cushnie left the band a few months after joining them, and Robertson soon switched over from bass to playing lead guitar for the Hawks. Robertson soon developed into a guitar virtuoso. Roy Buchanan, a few years older than Robertson, was a member of the Hawks and became an important influence on Robertson's guitar style: "Standing next to Buchanan on stage for several months, Robertson was able to absorb Buchanan’s deft manipulations with his volume speed dial, his tendency to bend multiple strings for steel guitar-like effect, his rapid sweep picking and his passion for bending past the root and fifth notes during solo flights."Drummer/singer Levon Helm was a member of the Hawks and soon became close friends with Robertson.
The Hawks continued to tour the United States and Canada, adding Rick Danko, Richard Manuel, Garth Hudson to the Hawks lineup in 1961. This lineup, which became the Band, toured with Hawkins throughout 1962 and into 1963, they hired the saxophone player Jerry Penfound and Bruce Bruno, who were both with the group in their intermediary period as Levon and the Hawks. Ronnie Hawkins and the Hawks cut sessions for Roulette Records throughout 1961–1963, all of which Robertson appeared on; the sessions included three singles: "Come Love" b/w "I Feel Good".
Robert William Gary Moore was a Northern Irish blues guitarist and singer-songwriter. During his teenage years in the 1960's, Moore played in the line up of a number of local Belfast based bands, before a move to Dublin, after being asked to join the Irish band Skid Row, whose soon to depart lead singer, was one Phil Lynott. On, Moore could be seen playing in the likes of Thin Lizzy and British band Colosseum II, as well as having his own successful solo career split between the genres of heavy metal and blues. Moore shared the stage with such blues and rock musicians as B. B. King, Albert King, John Mayall, Jack Bruce, Ginger Baker, Albert Collins, George Harrison, Greg Lake. Moore grew up on Castleview Road opposite Stormont Parliament Buildings, off the Upper Newtownards Road in east Belfast, as one of five children of Bobby, a promoter, Winnie, a housewife, he left the city as a teenager, because of troubles in his family – his parents parted a year – just as The Troubles were starting in Northern Ireland.
Moore picked up a battered acoustic guitar at the age of ten. He started performing at a young age, making his live debut in a school band, during the intermission of one of his father's promoted shows, he got his first quality guitar at the age of 14, learned to play the right-handed instrument in the standard way, despite being left-handed. In 1968, after performing with a number of Belfast-based bands, Gary Moore, at the age of 16, was "headhunted" as the replacement guitarist in the Dublin-based band Skid Row and he moved to Dublin. Moore's greatest influence in the early days was English guitarist Peter Green of Fleetwood Mac, a mentor to Moore when performing in Dublin. Other early musical influences were artists such as Albert King, Elvis Presley, The Shadows, Buddy Guy and The Beatles. Having seen Jimi Hendrix, Roy Buchanan and John Mayall's Bluesbreakers in his home town of Belfast, his own style was developing into a blues-rock sound that would be the dominant form of his career in music.
After joining the group Skid Row with Noel Bridgeman and Brendan "Brush" Shiels, in mid 1968, cutting a number of singles and an album, released in 1970, Skid Row went on to play shows across Europe and the US, opening for a number of high-profile bands. It was with this group that Gary Moore earned a reputation in the music industry, his association with Phil Lynott began. Moore left the band in December 1971. In 1970, Moore moved to England and remained there, apart from two short periods in the United States. In 1973, under the name "The Gary Moore Band", he released Grinding Stone. Grinding Stone was issued in North America on Neil Kempfer-Stocker's fledgling record label imprint Cosmos and received "Album of the Year" accolades on KTAC-FM/Seattle-Tacoma, Washington, in 1974. In 1974 he re-joined Lynott, when he first joined Thin Lizzy after the departure of founding member Eric Bell. From 1975 to August 1978, he was a member of Colosseum II. With that band, he collaborated with Andrew Lloyd Webber on the composer's Variations album in 1978.
In 1977, Moore re-joined Thin Lizzy, first as a temporary replacement for Brian Robertson, on a permanent basis a year later. Between late 1977 and early 1978 while moving from Colosseum II and a future return to the ranks of Thin Lizzy, Gary Moore recorded the album Back on the Streets, featuring the hit single "Parisienne Walkways" which reached the Top Ten in the UK Singles Chart in April 1979. While Back on the Streets was climbing the charts, Gary Moore had joined Thin Lizzy on a more permanent basis. Recording the album Black Rose: A Rock Legend, which reached number two in the UK album chart. Moore appears in the videos for "Waiting for an Alibi", "With Love" and "Do Anything You Want To". In July 1979, he left Thin Lizzy permanently to focus on a possible solo career, but went on to form the short lived band G-Force recording an album for Jet Records. A couple of other albums were made at this time, but not released until after Moore had signed to, found some success with Virgin Records in 1982, had released the album Corridors of Power.
During the 1980s, Moore released several heavy metal records as a solo artist, beginning with Corridors of Power in 1982, which were followed by Dirty Fingers and Victims of the Future the following year. Dirty Fingers had been recorded in 1981, with an different band, it represents Moore's last attempt at finding somebody to sing his songs. The two remaining albums are notable for featuring ex-Deep Purple drummer Ian Paice, Victims of the Future was the first album to feature Neil Carter, who would become a permanent fixture in Moore's bands in the years to come; these albums are Moore's most unrelenting. In years they were disowned by Moore himself, but remain fan favourites; these albums are in particular noteworthy for their descriptions of the feelings of dread and anxiety for youth growing up during the Cold War. Songs with anti-militaristic themes, which either implored the ceasing of war or depicted its horrors, would become a staple on every album from this period of Moore's career. Moore continued in a more commercial direction with the album Run for Cover, released in 1985.
This album is notable for being the final cooperation between Moore and Phil Lynott – front man and bassist in Thin Lizzy, who would die the following year – as well as being the final album to feature him, released in Phil's lifetime. The album's first single, Out in the Fields, was a major hit