1.
Jacques Brel
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He was widely considered a master of the modern chanson. In French-speaking countries, Brel was also an actor, appearing in ten films. He also directed two films, one of which, Le Far West, was nominated for the Palme dOr at the Cannes Film Festival in 1973, having sold over 25 million records worldwide, Brel is the third best-selling Belgian recording artist of all time. Brel married Thérèse Miche Michielsen in 1950 and the couple had three children and he also had a romantic relationship with actress and dancer Maddly Bamy from 1972 until his death in 1978. Jacques Romain Georges Brel was born on 8 April 1929 in Schaerbeek, Brussels, to Élisabeth Lisette and he came from a family of Flemish descent, who had adopted the French language, part of his family originated in Zandvoorde, near Ypres. His father worked for Cominex, a firm, and later became co-director of a company that manufactured cardboard. Jacques and his older brother Pierre grew up in an austere household, in Brussels, the family lived at 138 Avenue du Diamant in Schaerbeek, then moved to 26 Boulevard Belgica–Belgicalaan in Sint-Jans-Molenbeek, and finally settled at 7 Rue Jacques-Manne in Anderlecht. Jacques was close to his mother, fascinated by her generosity and sense of humour, in September 1941, his parents enrolled Jacques at the Institut Saint-Louis at rue du Marais near the Botanical Garden of Brussels. Although he did poorly in many subjects, he did well in history and French and he helped set up the schools drama club, taking on his first stage roles with great enthusiasm. He wrote short stories, poems, and essays, in 1944, at the age of 15, Jacques began playing the guitar. The following year he formed his own group with friends. In the spring of 1947, during his year at Saint-Louis. Published pseudonymously, the story is about a man on his death bed who encourages his grandson to run away while the rest of the family makes arrangements for his funeral. Despite his growing talent for writing, Jacques was never a good student, with an academic career not in his future, the 18-year-old Jacques went to work at his fathers cardboard factory in August 1947. His job at Vanneste and Brel was predictable and uninspiring—a routine that involved fixing prices, apart from joining the company football team, he showed little interest in the companys social activities and events. Perhaps to offset the boredom of his office routine, he joined a local Catholic youth organisation La Franche Cordée. Dedicated to philanthropic work, the group organised religious retreats, fundraising events, Jacques supported these activities with great enthusiasm and believed strongly in FCs mission. His parents were pleased with their sons dedication, and provided him with the company van and family car to support his FC activities
2.
Chanson
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A chanson is in general any lyric-driven French song, usually polyphonic and secular. A singer specializing in chansons is known as a chanteur or chanteuse, the earliest chansons were the epic poems performed to simple monophonic melodies by a professional class of jongleurs or ménestrels. These usually recounted the deeds of past heroes, legendary. The Song of Roland is the most famous of these, the chanson courtoise or grand chant was an early form of monophonic chanson, the chief lyric poetic genre of the trouvères. It was an adaptation to Old French of the Occitan canso and it was practised in the twelfth and thirteenth centuries. Thematically, as its name implies, it was a song of courtly love, some later chansons were polyphonic and some had refrains and were called chansons avec des refrains. A Crusade song was known as a chanson de croisade, in its typical specialized usage, the word chanson refers to a polyphonic French song of the late Middle Ages and Renaissance. Early chansons tended to be in one of the formes fixes—ballade, the earliest chansons were for two, three or four voices, with first three becoming the norm, expanding to four voices by the sixteenth century. Sometimes, the singers were accompanied by instruments, the first important composer of chansons was Guillaume de Machaut, who composed three-voice works in the formes fixes during the 14th century. Guillaume Dufay and Gilles Binchois, who wrote so-called Burgundian chansons, were the most important chanson composers of the next generation and their chansons, while somewhat simple in style, are also generally in three voices with a structural tenor. Musicologist David Fallows includes the Burgundian repertoire in A Catalogue of Polyphonic Songs 1415-1480 and these works are typically still 3 voices, with an active upper voice pitched above two lower voices usually sharing the same range. The first book of music printed from movable type was Harmonice Musices Odhecaton and this genre sometimes featured music that was meant to be evocative of certain imagery such as birds or the marketplace. Many of these Parisian works were published by Pierre Attaingnant, composers of their generation, as well as later composers, such as Orlando de Lassus, were influenced by the Italian madrigal. Many early instrumental works were ornamented variations on chansons, with this becoming the canzone. French solo song developed in the late 16th century, probably from the aforementioned Parisian works, louis Niedermeyer, under the particular spell of Schubert, was a pivotal figure in this movement, followed by Édouard Lalo, Felicien David and many others. Another offshoot of chanson, called chanson réaliste, was a musical genre in France. Among the better-known performers of the genre are Damia, Fréhel, chanson can be distinguished from the rest of French pop music by following the rhythms of French language, rather than those of English, and a higher standard for lyrics. Canzone Russian chanson French historical chanson panorama Brown, Howard Mayer, in The Oxford Companion to Music, edited by Alison Latham
3.
Barclay Records
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Barclay Records is a French record company and label founded by Eddie Barclay in 1953. Barclay was a bandleader, pianist, producer, and nightclub owner, with his wife, Nicole, who was the vocalist in his band, he started Barclay. The catalogue included the work of Stéphane Grappelli, Lionel Hampton, in 1978 the label was sold to Polygram Records. Barclay also had operations outside France, most notably in the U. S. Barclay Records is currently owned and distributed by Universal Music Group
4.
Songwriter
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A songwriter is an individual who writes the lyrics, melodies and chord progressions for songs, typically for a popular music genre such as rock or country music. A songwriter can also be called a composer, although the term tends to be used mainly for individuals from the classical music genre. The pressure from the industry to produce popular hits means that songwriting is often an activity for which the tasks are distributed between a number of people. For example, a songwriter who excels at writing lyrics might be paired with a songwriter with a gift for creating original melodies, pop songs may be written by group members from the band or by staff writers – songwriters directly employed by music publishers. Some songwriters serve as their own publishers, while others have outside publishers. The old-style apprenticeship approach to learning how to write songs is being supplemented by university degrees and college diplomas, a knowledge of modern music technology, songwriting elements and business skills are necessary requirements to make a songwriting career in the 2010s. Several music colleges offer songwriting diplomas and degrees with music business modules, the legal power to grant these permissions may be bought, sold or transferred. This is governed by international copyright law, song pitching can be done on a songwriters behalf by their publisher or independently using tip sheets like RowFax, the MusicRow publication and SongQuarters. Skills associated with song-writing include entrepreneurism and creativity, songwriters who sign an exclusive songwriting agreement with a publisher are called staff writers. In the Nashville country music scene, there is a staff writer culture where contracted writers work normal 9-to-5 hours at the publishing office and are paid a regular salary. This salary is in effect the writers draw, an advance on future earnings, the publisher owns the copyright of songs written during the term of the agreement for a designated period, after which the songwriter can reclaim the copyright. In an interview with HitQuarters, songwriter Dave Berg extolled the benefits of the set-up, unlike contracted writers, some staff writers operate as employees for their respective publishers. Under the terms of work for hire agreements, the compositions created are fully owned by the publisher. In Nashville, young writers are often encouraged to avoid these types of contracts. Staff writers are common across the industry, but without the more office-like working arrangements favored in Nashville. All the major publishers employ writers under contract, songwriter Allan Eshuijs described his staff writer contract at Universal Music Publishing as a starter deal. His success under the arrangement eventually allowed him to found his own publishing company, so that he could. keep as much as possible, songwriters are also often skilled musicians. In addition to selling their songs and musical concepts for other artists to sing, songwriters need to create a number of elements for a song
5.
Belgium
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Belgium, officially the Kingdom of Belgium, is a sovereign state in Western Europe bordered by France, the Netherlands, Germany, Luxembourg, and the North Sea. It is a small, densely populated country which covers an area of 30,528 square kilometres and has a population of about 11 million people. Additionally, there is a group of German-speakers who live in the East Cantons located around the High Fens area. Historically, Belgium, the Netherlands and Luxembourg were known as the Low Countries, the region was called Belgica in Latin, after the Roman province of Gallia Belgica. From the end of the Middle Ages until the 17th century, today, Belgium is a federal constitutional monarchy with a parliamentary system of governance. It is divided into three regions and three communities, that exist next to each other and its two largest regions are the Dutch-speaking region of Flanders in the north and the French-speaking southern region of Wallonia. The Brussels-Capital Region is a bilingual enclave within the Flemish Region. A German-speaking Community exists in eastern Wallonia, Belgiums linguistic diversity and related political conflicts are reflected in its political history and complex system of governance, made up of six different governments. Upon its independence, declared in 1830, Belgium participated in the Industrial Revolution and, during the course of the 20th century, possessed a number of colonies in Africa. This continuing antagonism has led to several far-reaching reforms, resulting in a transition from a unitary to a federal arrangement during the period from 1970 to 1993. Belgium is also a member of the Eurozone, NATO, OECD and WTO. Its capital, Brussels, hosts several of the EUs official seats as well as the headquarters of major international organizations such as NATO. Belgium is also a part of the Schengen Area, Belgium is a developed country, with an advanced high-income economy and is categorized as very high in the Human Development Index. A gradual immigration by Germanic Frankish tribes during the 5th century brought the area under the rule of the Merovingian kings, a gradual shift of power during the 8th century led the kingdom of the Franks to evolve into the Carolingian Empire. Many of these fiefdoms were united in the Burgundian Netherlands of the 14th and 15th centuries, the Eighty Years War divided the Low Countries into the northern United Provinces and the Southern Netherlands. The latter were ruled successively by the Spanish and the Austrian Habsburgs and this was the theatre of most Franco-Spanish and Franco-Austrian wars during the 17th and 18th centuries. The reunification of the Low Countries as the United Kingdom of the Netherlands occurred at the dissolution of the First French Empire in 1815, although the franchise was initially restricted, universal suffrage for men was introduced after the general strike of 1893 and for women in 1949. The main political parties of the 19th century were the Catholic Party, French was originally the single official language adopted by the nobility and the bourgeoisie
6.
Singer-songwriter
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Singer-songwriters are musicians who write, compose, and perform their own musical material, including lyrics and melodies. The genre began with the folk-acoustic tradition, singer-songwriters often provide the sole accompaniment to an entire composition or song, typically using a guitar or piano. Singer-songwriter is used to define popular music artists who write and perform their own material, such an artist performs the roles of composer, lyricist, vocalist, instrumentalist, and often self-manager. Most records by artists have a similarly straightforward and spare sound that placed emphasis on the song itself. The term has also used to describe songwriters in the rock, folk, and pop music genres including Henry Russell, Aristide Bruant, Hank Williams. Song topics include political protest, as in the case of the Almanac Singers, Pete Seeger, the concept of a singer-songwriter can be traced to ancient bardic oral tradition, which has existed in various forms throughout the world. Poems would be performed as chant or song, sometimes accompanied by a harp or other similar instrument, after the invention of printing, songs would be written and performed by ballad sellers. Usually these would be versions of existing tunes and lyrics, which were constantly evolving and this developed into the singer-songwriting traditions of folk culture. The term singer-songwriter in North America can be traced back to singers who developed works in the blues and folk music style. Early to mid-20th century American singer-songwriters include Lead Belly, Jimmie Rodgers, Blind Lemon Jefferson, T-Bone Walker, Blind Willie McTell, Lightnin Hopkins, Son House, the tradition of writing topical songs was established by this group of musicians. This focus on social issues has greatly influenced the singer-songwriter genre, artists who had been primarily songwriters, notably Carole King, Townes Van Zandt, and Neil Diamond, also began releasing work as performers. In contrast to the approach of most prior country and folk music. The adjectives confessional and sensitive were often used singer-songwriter style, in the rock band era, members were not technically singer-songwriters as solo acts. However, many were singer-songwriters who created songs with band members. Many others like Eric Clapton found success as singer-songwriters in their later careers, there were hints of cross-pollination, but rock and folk music had remained largely separate genres, often with different audiences. An early attempt at fusing elements of folk and rock was highlighted in the Animals House of the Rising Sun, dylan plugged an entire generation into the milieu of the singer-songwriter. In the mid- to late 1960s, bands and singer-songwriters began to proliferate the underground New York art/music scene. Lotti Golden, in her Atlantic debut album Motor-Cycle, chronicled her life in NYCs East Village in the late 60s counterculture, visiting subjects such as gender identity, kate Bush remained distinctive throughout with her idiosyncratic style
7.
Revue
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A revue is a type of multi-act popular theatrical entertainment that combines music, dance and sketches. The revue has its roots in 19th century popular entertainment and melodrama, though most famous for their visual spectacle, revues frequently satirized contemporary figures, news or literature. Similar to the related subforms of operetta and musical theatre, the art form brings together music, dance. In contrast to these, however, revue does not have an overarching storyline, rather, a general theme serves as the motto for a loosely-related series of acts that alternate between solo performances and dance ensembles. George Lederers The Passing Show is usually held to be the first successful American review, the English spelling was used until 1907 when Florenz Ziegfeld popularized the French spelling. Follies is now employed as an analog for revue, though the term was proprietary to Ziegfeld until his death in 1932. Other popular proprietary revue names included George Whites Scandals and Earl Carrolls Vanities, Revues are most properly understood as having amalgamated several theatrical traditions within the corpus of a single entertainment. Minstrelsys olio section provided a map of popular variety presentation. Theatrical extravaganzas, in particular, moving panoramas, demonstrated a vocabulary of the spectacular, burlesque, itself a bawdy hybrid of various theatrical forms, lent to classic revue an open interest in female sexuality and the masculine gaze. Revues enjoyed great success on Broadway from the World War I years until the Great Depression, the high ticket prices of many revues helped ensure audiences distinct from other live popular entertainments during their height of popularity. In 1914, the Follies charged $5.00 for an opening night ticket, at time, many cinema houses charged from $0.10 to 0.25. Among the many producers of revues, Florenz Ziegfeld played the greatest role in developing the classical revue through his glorification of a new theatrical type. Revues took advantage of their revenue stream to lure away performers from other media. Performers such as Eddie Cantor, Anna Held, W. C, fields, Bert Williams, the Marx Brothers and the Fairbanks Twins found great success on the revue stage. One of Cole Porters early shows was Raymond Hitchcocks revue Hitchy-Koo, composers or lyricists such as Richard Rodgers, Lorenz Hart, Irving Berlin, and George M. Cohan also enjoyed a tremendous reception on the part of audiences. Sometimes, an appearance in a revue provided a key early entry into entertainment, largely due to their centralization in New York City and adroit use of publicity, revues proved particularly adept at introducing new talents to the American theatre. Rodgers and Hart, one of the great composer/lyricist teams of the American musical theatre, comedian Fanny Brice, following a brief period in burlesque and amateur variety, bowed to revue audiences in Ziegfelds Follies of 1910. Specialist writers and composers of revues have included Sandy Wilson, Noël Coward, John Stromberg, George Gershwin, Earl Carroll, in Britain predominantly, Tom Arnold also specialised in promoting series of revues and his acts extended to the European continent and South Africa
8.
Jacques Brel is Alive and Well and Living in Paris
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Jacques Brel Is Alive and Well and Living in Paris is a musical revue of the songs of Jacques Brel. Brels songs were translated into English by Eric Blau and Mort Shuman, the original 1968 Off-Broadway production ran for four years and spawned international and regional productions, as well as a West End production and Off-Broadway revival, among others. A film adaptation was released in 1975, in 2013, David Bowie included the cast recording in a list of 25 of his favourite albums, Confessions of a Vinyl Junkie. The revue debuted Off-Broadway on January 22,1968 at The Village Gate Theater in Greenwich Village and its original performers were Elly Stone, Mort Shuman, Shawn Elliott, and Alice Whitfield. The production was directed by Moni Yakim, the revue, consisting of around 25 songs, is performed by four vocalists, two male and two female. Brel contributed most of the music and French lyrics, English translations were provided by Eric Blau, Stones husband, and Mort Shuman, on January 25,1972, a gala entitled Hommage à Jacques was celebrated at Carnegie Hall with Brel in attendance. His songs were interpreted by twenty-two artists, the show enjoyed considerable international success. In 1968 Yakim directed a Canadian production in Toronto featuring Robert Jeffrey, Judy Lander, Arlene Meadows, in the 1970s, a production by Taubie Kushlick in Johannesburg, South Africa became the longest-running musical production in that countrys theatrical history. A cast recording was released and is regarded as containing the definitive English-language versions of some of the songs, during that decade the show also enjoyed successful runs in Sydney, Paris, Dublin, Amsterdam, and Copenhagen. In 1973, Jacques Brel was produced by Ray Shepardson in the lobby of Cleveland and it was intended to play for two weeks, but continued through 1975, with a 522-performance run that became the longest theatrical run in the citys history to that point. The production is credited as a factor in the rescue and restoration of the theater and its adjacent venues. In 1974, the revue was revived at the Astor Place Theatre for a limited run, in 1975, a film adaptation of the original production was released as part of the American Film Theatre series. The film included a few new songs, despite Brels death in 1978, and his last years spent sailing around the world and living in Polynesia, the name of the show has remained unchanged. A1988 revival served as the 20th anniversary production of the show at The Town Hall in Manhattan and it was produced by Blau and Reuben Hoppenstein and was directed by Stone, starring Karen Akers, Shelley Ackerman, Elmore James and Kenny Morris. In 1994 the show was performed in Dublins Andrews Lane Theatre and featured Irish actress and singer, in 1995 the show was revived in the West End, starring Michael Cahill, Alison Egan, Liz Greenaway, and Stuart Pendred. A cast recording of this production was released on August 12,1997 with Jay Records, in 2006, a production opened Off-Broadway at the Zipper Theater in New York City. The revival also included expanded staging and choreography, the production ran for more than a year. It was nominated for awards including the Drama Desk, Drama League
9.
Single (music)
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In music, a single or record single is a type of release, typically a song recording of fewer tracks than an LP record, an album or an EP record. This can be released for sale to the public in a variety of different formats, in most cases, a single is a song that is released separately from an album, although it usually also appears on an album. Typically, these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular, in other cases a recording released as a single may not appear on an album. As digital downloading and audio streaming have become prevalent, it is often possible for every track on an album to also be available separately. Nevertheless, the concept of a single for an album has been retained as an identification of a heavily promoted or more popular song within an album collection. Despite being referred to as a single, singles can include up to as many as three tracks on them. The biggest digital music distributor, iTunes, accepts as many as three tracks less than ten minutes each as a single, as well as popular music player Spotify also following in this trend. Any more than three tracks on a release or longer than thirty minutes in total running time is either an Extended Play or if over six tracks long. The basic specifications of the single were made in the late 19th century. Gramophone discs were manufactured with a range of speeds and in several sizes. By about 1910, however, the 10-inch,78 rpm shellac disc had become the most commonly used format, the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century.26 rpm. With these factors applied to the 10-inch format, songwriters and performers increasingly tailored their output to fit the new medium, the breakthrough came with Bob Dylans Like a Rolling Stone. Singles have been issued in various formats, including 7-inch, 10-inch, other, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc. Some artist release singles on records, a more common in musical subcultures. The most common form of the single is the 45 or 7-inch. The names are derived from its speed,45 rpm. The 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable, the first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s
10.
Scott 2
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Scott 2 is the second solo album by Scott Walker. Scott 2 follows the formula of Walkers début release, with a mixture of contemporary covers Jacques Brel interpretations, film songs and his own original compositions. According to Jonathan King writing in the notes to Scott 2, not long after the album had been completed, Walker described it as the work of a lazy. He added, Now the nonsense must stop, and the business must begin. The album, released on Philips Records in May 1968, reached #1 for one week, the album was preceded by the single Jackie in late 1967. The single met with controversy in the UK because of lyrics like authentic queers and phony virgins, the song was banned by the BBC and was not performed on BBC TV or played on the mainstream radio channels. The song eventually charted at #22, a record about real stuff with quite disturbing imagery, remarked Neil Hannon, frontman of The Divine Comedy. Wally Stott - arrangements and conductor Reg Guest - arrangements and conductor Peter Knight - arrangements and conductor Peter Olliff - engineer
11.
A-side and B-side
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The terms A-side and B-side refer to the two sides of 78,45, and 33 1/3 rpm phonograph records, whether singles, extended plays, or long-playing records. Creedence Clearwater Revival had hits with both A-side and B-side releases, others took the opposite approach, producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side, the earliest 10-inch,78 rpm, shellac records were single sided. Double-sided recordings, with one song on side, were introduced in Europe by Columbia Records. There were no record charts until the 1930s, and radio stations did not play recorded music until the 1950s, in this time, A-sides and B-sides existed, but neither side was considered more important, the side did not convey anything about the content of the record. The term single came into use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side, under this random system, many artists had so-called double-sided hits, where both songs on a record made one of the national sales charts, or would be featured on jukeboxes in public places. As time wore on, however, the convention for assigning songs to sides of the record changed. By the early sixties, the song on the A-side was the song that the company wanted radio stations to play. It was not until 1968, for instance, that the production of albums on a unit basis finally surpassed that of singles in the United Kingdom. In the late 1960s stereo versions of pop and rock songs began to appear on 45s. The majority of the 45s were played on AM radio stations, by the early 1970s, double-sided hits had become rare. Album sales had increased, and B-sides had become the side of the record where non-album, non-radio-friendly, with the advent of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. With the decline of cassette singles in the 1990s, the A-side/B-side dichotomy became virtually extinct, as the dominant medium. However, the term B-side is still used to refer to the tracks or coupling tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other media have declined. B-side songs may be released on the record as a single to provide extra value for money. There are several types of material released in this way, including a different version, or, in a concept record
12.
Baroque pop
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Baroque pop is a pop music subgenre that fuses classical music, orchestral pop, rock, and Baroque music. It is identifiable for its use of melodies, functional harmony patterns. The genre emerged in the 1960s after pop musicians and record producers began placing the harpsichord in the foreground of their arrangements, other typical baroque pop instrumentation includes string sections, French horns, and oboes. Baroque pops mainstream popularity faded by the 1970s, partially because punk rock, disco and hard rock took over, nonetheless, music was still produced within the genres tradition. Philadelphia soul in the 1970s and chamber pop in the 1990s both incorporated the spirit of baroque pop while the latter contested much of the low fidelity musical aesthetic. Baroque pop, stylistically, fuses elements of rock with classical music, often incorporating layered harmonies, strings and its prominent characteristics are the use of contrapuntal melodies and functional harmony patterns. It was intended to be a serious and mature outgrowth of rock music. English baroque is used by journalist Bob Stanley to describe a subset that existed between 1968 and 1973, starting in the 1960s, pop musicians and record producers like Phil Spector and the Beach Boys Brian Wilson began placing the harpsichord in the foreground of their arrangements. Harpsichords were widely available in recording studios, and had used in popular music since as early as the 1940s. One of the first pop hits to use a harpsichord was the Jamies Summertime, Summertime. Later examples range from the Beach Boys I Get Around and When I Grow Up to the Righteous Brothers Youve Lost That Lovin Feelin and the Mamas & the Papas Monday, Monday. The Boston Globes Matthew Guerriri speculates that the harpsichord may have been desirable for its buzzing, stinging timbre, slates Forrest Wickman credits Wilson and the Beatles producer, George Martin, as some of the men most responsible for the move into baroque pop. Along with Burt Bacharach, Spector had melded pop music with classical elements before they were melded with rock, writer Andrew Jackson suggests that the era of baroque pop in which rock melded with classical elements was prefaced by the Rolling Stones and Brian Wilson. The Beatles benefited from the music skills of Martin, who played a baroque harpsichord solo on the song In My Life. Author Joe Harrington noted that after its release, many baroque-rock works would soon appear, producer Tommy LiPuma believed, Once the Beatles featured that harpsichord sound on In My Life, pop producers began working it in. The genre is traced to the United States and the United Kingdom, by early 1966, various groups began using baroque and classical instrumentation, described as a baroque rock movement by Gendron. The Zombies single Shes Not There marked a point for British baroque pop. Stanley explains that the song didnt feature any oboes but stuck out rather dramatically in 1964, Shes Not There would inspire New York musician Michael Brown to form the Left Banke, whose song Walk Away Renée is considered by Stanley to be the first recognizable baroque pop single
13.
Philips Records
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Not to be confused with Phillips International Records. Philips Records is a label that was founded by the Dutch electronics company Philips. In 1946 Philips acquired the company which pressed records for British Deccas Dutch outlet in Amsterdam, the record label was started by Philips Phonographische Industrie in June 1950 when it began issuing classical recordings. Recordings were also made with artists of various nationalities and with classical artists from Germany, France. Launched under the slogan Records of the Century, the first releases in Britain appeared at the beginning of January 1953 on 1078 rpm discs, Philips also distributed recordings made by the Columbia Records in the UK and on the European continent. After the separation of the English Columbia label and American Columbia, the first single on the label to chart was Frankie Laines I Believe, which reached the No.1 chart position in the UK that April. Many of the first British recordings on the label were produced by Norman Newell until John Franz was appointed artists, in 1958 Philips created a subsidiary label, Fontana Records, which meant that American-Columbia recordings were being issued on both the Philips and Fontana labels. This arrangement lasted until April 1962 when, under pressure from Columbia in America, Philips then created a label for them. In late 1964, under the stewardship of U. S. President of Columbia Records Goddard Lieberson, CBS Records formed its own international operations, CBS Records set up their UK operation in Theobalds Road in Holborn. Singles and albums on the Philips and Fontana labels by Columbia-owned product were subsequently withdrawn, in 1962, Philips Records and Deutsche Grammophon formed the Grammophon-Philips Group joint venture, which later became PolyGram in 1972. UK pressings were manufactured at the large factory based at Walthamstow in N. E. In 1961, after Philips lost its North American distribution deal with Columbia Records, a year later, Philips US affiliate Consolidated Electronics Industries Corp. bought Mercury and its subsidiary labels, such as Smash. Philips classical, jazz and pop records were marketed by Mercury in the US under the Philips label, the Mercury Living Presence team also made classical recordings for Philips, in July 1961. 69 for cello and piano by Richter and Rostropovich, classical groups that Philips heavily recorded included the Royal Concertgebouw Orchestra, the Beaux Arts Trio, and the Quartetto Italiano. Violinist Arthur Grumiaux and the pianist Claudio Arrau were under contract to Philips, symphony orchestras under contract, including the LSO, were under the command of prestigious young conductors such as Colin Davis and Bernard Haitink. From 1961 until the late 1980s, Philips Records issued many classical titles in US-specific packaging, the records were pressed at Mercurys plant in Richmond, Indiana, and mastered in New York by George Piros at Fine Recording, using 2-track and mono master tapes provided by Philips. These releases were the PHS900 xxx series for stereo and the 500 xxx series for mono, clair Van Ausdal in Mercurys New York office oversaw the Philips classical US releases through the mid-1960s. These records were made through Mercurys existing jazz operations and produced by Jack Tracy, in addition to jazz and classical music, Philips also became a major player in the world of rock and pop music in the late 1950s till late 1970s
14.
Mort Shuman
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Mort Shuman was an American singer, pianist and songwriter, best known as co-writer of many 1960s rock and roll hits, including Viva Las Vegas. He also wrote and sang songs in French, such as Le Lac Majeur, Allo Papa Tango Charlie, Sha Mi Sha, Un Eté de Porcelaine. Shuman was born in Brooklyn, New York City, of Polish Jewish immigrants and went to Abraham Lincoln High School, subsequently studying music at the New York Conservatory. He became a fan of R&B music and after he met Doc Pomus the two teamed up to compose for Aldon Music at offices in New York Citys Brill Building and their songwriting collaboration saw Pomus write the lyrics and Shuman the melody, although occasionally each worked on both. Their compositions would be recorded by such as Dion, The Flamingos, Andy Williams, Bobby Darin, Fabian, Ajda Pekkan The Drifters. Pomus often drew on life events inspired his creativity. It was after a break-up with his girlfriend that Pomus, who had been driving in his car, was struck in awe by the sounds of the car horns blaring amidst his thoughts. Arriving at the studio, Pomus attempted to assimilate the sound of the horns, later, the work progressed with Shuman, who helped finalize the draft. A chorus was added and the name of the song was changed to Cant Get Used to Losing You, with the advent of the British invasion, they moved to London where they penned songs for a number of British musicians. After the partnership with Doc Pomus ended in 1965, Shuman moved to Paris, France, one of his hits in the early 1970s was Le Lac Majeur. He also wrote a couple of hits in the UK, as well as a musical, with the Welsh songwriter Clive Westlake, he wrote Here I Go Again, which was recorded by The Hollies. Billy J. Kramer enjoyed success with another Shuman song, Little Children, some of the songs from the show were subsequently recorded by Scott Walker, including Jackie and Mathilde. Shuman appeared in both the stage revue and the 1975 film adaptation and this was followed the next year with work on the soundtrack of the film Sex OClock U. S. A. He also did collaborations with the Hebrew singer Mike Brant. Shuman was elected to the Songwriters Hall of Fame in 1992 and he also worked occasionally as an actor, notably appearing with Jodie Foster in The Little Girl Who Lives Down the Lane. He died of cancer on November 2,1991, leaving his wife, Maria-Pia and their four daughters, Maria-Cella, Barbara, Doc Pomus had died in March of the same year. Shuman was named one of the 2010 recipients of the Ahmet Ertegun Award from the Rock and he joined his early collaborator Doc Pomus, who was inducted in 1992. - Sales, Gold = Gold Record, written E. L. Moro, M. Shuman,1976
15.
Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as the person who creatively guides or directs the process of making a record, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously, all of these singers and musicians had to be assembled in a large studio and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu
16.
Joanna (Scott Walker song)
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Joanna is a song written by the English husband and wife song-writing team Tony Hatch and Jackie Trent which was first a song for the American singer-songwriter Scott Walker in 1968. The song was Walkers second solo single in the UK, the accompaniment was directed by Peter Knight. While credited to Hatch and Trent journalist Joe Jackson writes in his article The Fugitive Kind that Walker wrote a significant proportion of the lyric. Jackson quotes Walker as follows, that whole verse about lived in your eyes completely is mine and I wrote the last line in the song, you may remember me and change your mind. Joanna was a hit and is one of Walkers most popular recordings spending eleven weeks on the UK Singles Chart. An instrumental arrangement on the song was used as the theme for Walkers BBC TV series, the single was backed with the 1967 Scott album track Always Coming Back to You. The accompaniment of the b-side was directed by Reg Guest, japanese editions are backed with The Plague, which was previously released as the b-side to Jackie in 1967
17.
United States
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Forty-eight of the fifty states and the federal district are contiguous and located in North America between Canada and Mexico. The state of Alaska is in the northwest corner of North America, bordered by Canada to the east, the state of Hawaii is an archipelago in the mid-Pacific Ocean. The U. S. territories are scattered about the Pacific Ocean, the geography, climate and wildlife of the country are extremely diverse. At 3.8 million square miles and with over 324 million people, the United States is the worlds third- or fourth-largest country by area, third-largest by land area. It is one of the worlds most ethnically diverse and multicultural nations, paleo-Indians migrated from Asia to the North American mainland at least 15,000 years ago. European colonization began in the 16th century, the United States emerged from 13 British colonies along the East Coast. Numerous disputes between Great Britain and the following the Seven Years War led to the American Revolution. On July 4,1776, during the course of the American Revolutionary War, the war ended in 1783 with recognition of the independence of the United States by Great Britain, representing the first successful war of independence against a European power. The current constitution was adopted in 1788, after the Articles of Confederation, the first ten amendments, collectively named the Bill of Rights, were ratified in 1791 and designed to guarantee many fundamental civil liberties. During the second half of the 19th century, the American Civil War led to the end of slavery in the country. By the end of century, the United States extended into the Pacific Ocean. The Spanish–American War and World War I confirmed the status as a global military power. The end of the Cold War and the dissolution of the Soviet Union in 1991 left the United States as the sole superpower. The U. S. is a member of the United Nations, World Bank, International Monetary Fund, Organization of American States. The United States is a developed country, with the worlds largest economy by nominal GDP. It ranks highly in several measures of performance, including average wage, human development, per capita GDP. While the U. S. economy is considered post-industrial, characterized by the dominance of services and knowledge economy, the United States is a prominent political and cultural force internationally, and a leader in scientific research and technological innovations. In 1507, the German cartographer Martin Waldseemüller produced a map on which he named the lands of the Western Hemisphere America after the Italian explorer and cartographer Amerigo Vespucci
18.
BBC
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The British Broadcasting Corporation is a British public service broadcaster. It is headquartered at Broadcasting House in London, the BBC is the worlds oldest national broadcasting organisation and the largest broadcaster in the world by number of employees. It employs over 20,950 staff in total,16,672 of whom are in public sector broadcasting, the total number of staff is 35,402 when part-time, flexible, and fixed contract staff are included. The BBC is established under a Royal Charter and operates under its Agreement with the Secretary of State for Culture, Media and Sport. The fee is set by the British Government, agreed by Parliament, and used to fund the BBCs radio, TV, britains first live public broadcast from the Marconi factory in Chelmsford took place in June 1920. It was sponsored by the Daily Mails Lord Northcliffe and featured the famous Australian Soprano Dame Nellie Melba, the Melba broadcast caught the peoples imagination and marked a turning point in the British publics attitude to radio. However, this public enthusiasm was not shared in official circles where such broadcasts were held to interfere with important military and civil communications. By late 1920, pressure from these quarters and uneasiness among the staff of the licensing authority, the General Post Office, was sufficient to lead to a ban on further Chelmsford broadcasts. But by 1922, the GPO had received nearly 100 broadcast licence requests, John Reith, a Scottish Calvinist, was appointed its General Manager in December 1922 a few weeks after the company made its first official broadcast. The company was to be financed by a royalty on the sale of BBC wireless receiving sets from approved manufacturers, to this day, the BBC aims to follow the Reithian directive to inform, educate and entertain. The financial arrangements soon proved inadequate, set sales were disappointing as amateurs made their own receivers and listeners bought rival unlicensed sets. By mid-1923, discussions between the GPO and the BBC had become deadlocked and the Postmaster-General commissioned a review of broadcasting by the Sykes Committee and this was to be followed by a simple 10 shillings licence fee with no royalty once the wireless manufactures protection expired. The BBCs broadcasting monopoly was made explicit for the duration of its current broadcast licence, the BBC was also banned from presenting news bulletins before 19.00, and required to source all news from external wire services. Mid-1925 found the future of broadcasting under further consideration, this time by the Crawford committee, by now the BBC under Reiths leadership had forged a consensus favouring a continuation of the unified broadcasting service, but more money was still required to finance rapid expansion. Wireless manufacturers were anxious to exit the loss making consortium with Reith keen that the BBC be seen as a service rather than a commercial enterprise. The recommendations of the Crawford Committee were published in March the following year and were still under consideration by the GPO when the 1926 general strike broke out in May. The strike temporarily interrupted newspaper production and with restrictions on news bulletins waived the BBC suddenly became the source of news for the duration of the crisis. The crisis placed the BBC in a delicate position, the Government was divided on how to handle the BBC but ended up trusting Reith, whose opposition to the strike mirrored the PMs own
19.
Frankie Howerd
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Francis Alick Frankie Howerd, OBE was an English comedian and comic actor whose career, described by fellow comedian Barry Cryer as a series of comebacks, spanned six decades. Howerd was born the son of soldier Francis Alfred William and Edith Florence Howard, at the City Hospital in York, England and he was educated at Shooters Hill Grammar School in Woolwich, London. His first stage appearance was at age 13 but his hopes of becoming a serious actor were dashed when he failed an audition for RADA. He began to entertain during World War II service in the British Army and it was at this time that he adapted his surname to Howerd to be different. In 1944 he became a bombardier in Plymouth, was promoted to sergeant, despite suffering from stage fright, he continued to work after the war, beginning his professional career in the summer of 1946 in a touring show called For the Fun of It. His act was soon heard on radio, when he made his debut, in early December 1946 and his profile rose in the immediate postwar period. In 1954, he made his debut opposite Petula Clark in The Runaway Bus. The film was so low-budget that it could not afford scenery, the film, however, was an immediate hit, even though Howerd never established a major film presence thereafter. After suffering a breakdown at the start of the 1960s, he began to recover his old popularity. He was boosted further by success on That Was the Week That Was in 1963 and on stage with A Funny Thing Happened on the Way to the Forum, which led into regular television work. In 1966 and 1967, he co-hosted a 90-minute Christmas show called The Frankie and Bruce Christmas Show with Bruce Forsyth, during the 1960s and 1970s, he was involved in shows for the BBC and Thames Television. Ray Galton and Alan Simpson wrote for him from 1964 to 1966 when he worked for the BBC and also for a show for Thames, Frankie Howerd meets the Bee Gees. He was famous for his seemingly off-the-cuff remarks to the audience, which was a direct follow-up from Forum. His television work was characterised by direct addresses to camera and by his littering monologues with verbal tics such as Oooh, no missus, a later sale of his scripts, however, showed that the seemingly off-the-cuff remarks had all been meticulously planned. Barry Cryer said of his technique, What he could do with a script was amazing and he knew exactly what he was doing. Another feature of his humour was to feign innocence about his obvious and risqué double entendres, Howerd appeared as Francis Bigger, one of the lead characters in 1967s Carry On Doctor. The success of the version of Up Pompeii in 1971 saw British exhibitors vote him the ninth most popular star at the British box office that year. He would play versions of the character Lurkio in Up the Chastity Belt, also in 1971, the song was included in the 2004 CD re-issue of Oh
20.
Freddie Mercury
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Freddie Mercury was a British singer, songwriter and record producer, known as the lead vocalist and co-principal songwriter of the rock band Queen. He also became known for his flamboyant stage persona and four-octave vocal range, Mercury wrote and composed numerous hits for Queen, occasionally served as a producer and guest musician for other artists, and concurrently led a solo career while performing with Queen. Mercury died in 1991 at age 45 due to complications from AIDS, in 1992 Mercury was posthumously awarded the Brit Award for Outstanding Contribution to British Music, and had a tribute concert held at Wembley Stadium, London. In 2002, he was placed at number 58 in the BBCs poll of the 100 Greatest Britons, Mercury was born in the British protectorate of Sultanate of Zanzibar, East Africa. His parents, Bomi and Jer Bulsara, were Parsis from the Gujarat region of the province of Bombay Presidency in British India. The family surname is derived from the town of Bulsar in southern Gujarat, as Parsis, Mercury and his family practised the Zoroastrian religion. The Bulsara family had moved to Zanzibar so that his father could continue his job as a cashier at the British Colonial Office and he had a younger sister, Kashmira. Mercury spent most of his childhood in India and began taking lessons at the age of seven. In 1954, at the age of eight, Mercury was sent to study at St. Peters School, at the age of 12, he formed a school band, The Hectics, and covered rock and roll artists such as Cliff Richard and Little Richard. The only music he listened to, and played, was Western pop music, a friend from the time recalls that he had an uncanny ability to listen to the radio and replay what he heard on piano. It was also at St. Peters where he began to call himself Freddie, at the age of 17, Mercury and his family fled from Zanzibar for safety reasons due to the 1964 Zanzibar Revolution, in which thousands of Arabs and Indians were killed. The family moved into a house at 22 Gladstone Avenue, Feltham, Middlesex. Mercury enrolled at Isleworth Polytechnic in West London where he studied art and he ultimately earned a diploma in Art and Graphic Design at Ealing Art College, later using these skills to design the Queen heraldic arms. A British citizen at birth, Mercury remained so for the rest of his life, following graduation, Mercury joined a series of bands and sold second-hand clothes in the Kensington Market in London with girlfriend Mary Austin. He also held a job at Heathrow Airport, friends from the time remember him as a quiet and shy young man who showed a great deal of interest in music. In 1969 he joined the Liverpool-based band Ibex, later renamed Wreckage and he lived briefly in a flat above the Liverpool pub, The Dovedale Towers. When this band failed to take off, he joined a band called Sour Milk Sea. However, by early 1970 this group had broken up as well, in April 1970 Mercury joined guitarist Brian May and drummer Roger Taylor who had previously been in a band called Smile
21.
Momus (musician)
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Nicholas Currie, more popularly known under the artist name Momus, is a Scottish songwriter, author, blogger and former journalist for Wired. For over thirty years he has been releasing, to commercial and critical success, albums on labels in the United Kingdom, the United States. He is fascinated by identity, Japan, Rome, the avant-garde, time travel, Momus began by recording post-punk material with ex-members of Josef K in a group called The Happy Family in the early 1980s and was associated with the musicians around Postcard Records. His debut solo album Circus Maximus explored biblical themes in dark and his debt to the influence of Gallic pop was clear from a subsequent, sardonically self-referencing cover of Jacques Brels Jacky and portraits of himself in the style of early 1960s Serge Gainsbourg. In 1987, when he lived in London, he signed to Creation Records and began to record the hyper-literate, quirky pop songs for which he is best known. A trio of albums, The Poison Boyfriend, Tender Pervert and Dont Stop The Night, blended accessible dance-pop with such heavy lyrical themes as paedophilia, necrophilia and adultery. Subsequent albums on Creation included Hippopotamomus, a tribute to Gainsbourg. By 1994, however, when Creation signed Oasis, his music began to seem out of place on the newer, more laddish. He moved to Paris and signed to Cherry Red Records, the first time was from Michelin UK, for the song Michelin Man, which compared the mascot to a blow-up doll, on Hippopotamomus. He was sued by Wendy Carlos for the song Walter Carlos on The Little Red Songbook. The case was settled out of court for a fee of $30,000, withdrawal of the song, agreement not to use Carlos name for any purpose, and payment of damages and attorneys fees to Carlos. To pay off the debt, Momus wrote 30 songs, one each person or group who commissioned a song for $1,000. Patrons included artist Jeff Koons, Japanese musician Cornelius, and three-year-old animator/superhero Noah Brill, Stars Forever also features the winners of a karaoke contest started on The Little Red Songbook. In 2000, he performed As You Turn to Go on The 6ths album Hyacinths and Thistles and he has continued to release Momus albums, as well as contribute to other artists records since. Momus has written for Wired, Vice, Index Magazine, AIGA Voice, 032c, in 2006 he was a featured artist in the Whitney Biennial in New York City, serving as an unreliable tour guide to visitors of the exhibition. He kept a blog documenting his everyday experience, philosophies and fetishes. Momus said in 1991 that In the future everyone will be famous for fifteen people, the quip parodies Andy Warhols famous prediction that, In the future, everyone will be famous for fifteen minutes. The Fotolog. Book with texts by Momus on photoblogging was published in April 2006 by British publishers Thames & Hudson, the Book of Jokes and The Book of Scotlands have received positive reviews in the LA Times and the Guardian
22.
Marc Almond
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Peter Mark Sinclair Marc Almond is an English singer-songwriter and musician. Almond first began performing and recording in the synthpop/new wave duo Soft Cell and he has also had a diverse career as a solo artist. His collaborations include a duet with Gene Pitney on the 1989 UK number one single Somethings Gotten Hold of My Heart, Almond has sold over 30 million records worldwide. Almond was born in Southport, Lancashire, the son of Sandra Mary Diesen and Peter John Sinclair Almond and he was brought up nearby at his grandparents house in Birkdale with his younger sister, Julia, and as a child suffered from bronchitis and asthma. When he was four, they left their grandparents house and moved to Starbeck, two years later they returned to Southport, and then moved to Horsforth, West Yorkshire. At the age of 11, Almond attended Aireborough Grammar School near Leeds and he found solace in music, listening to British radio pioneer John Peel. The first album he purchased was the soundtrack of the stage musical Hair and he later became a great fan of Marc Bolan and David Bowie and got a part-time job as a stable boy to fund his musical tastes. After his parents divorce in 1972, he moved with his back to Southport. He gained two O-Levels in Art and English and was accepted onto a General Art and Design course at Southport College, Almond applied to Leeds Polytechnic, where he was interviewed by Jeff Nuttall, also a performance artist, who accepted him on the strength of his performing skills. During his time at Art College, he did a series of theatre pieces, Zazou, Glamour in Squalor, Twilights and Lowlifes. He left Art College with a 2,1 honours degree and he later credited writer and artist Molly Parkin with discovering him. It was at Leeds Polytechnic that Almond met David Ball, a fellow student, as an adolescent, Almond listened to Radio Caroline and Radio Luxembourg. He listened at first to progressive music, blues, and rock, and bands such as Free, Jethro Tull, Siouxsie and the Banshees, Van der Graaf Generator, The Who, and The Doors. He bought the first ever issue of Sounds because it contained a poster of Jimmy Page. Almond became a fan of Bolan after hearing him on The John Peel Show, rex single Ride a White Swan. From then on, Almond followed everything Marc Bolan did and it was his obsession with Bolan that prompted Almond to adopt the Marc spelling of his name and he discovered the songs of Jacques Brel through Bowie as well as Alex Harvey and Dusty Springfield. Almond and Dave Ball formed the synthesizer-based duo Soft Cell and signed to Some Bizzare Label and their hits included Tainted Love, Bedsitter, Say Hello, Wave Goodbye, Torch, What. Soul Inside, and the club hit Memorabilia, Soft Cells first release was an independent record entitled Mutant Moments via Red Rhino Records in 1980
23.
Tenement Symphony (Marc Almond album)
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Tenement Symphony is the seventh studio album by the British singer/songwriter Marc Almond. It was released in October 1991 and reached number 39 on the UK Albums Chart, tenement Symphony includes three UK Top 40 hit singles, Jacky, My Hand Over My Heart and The Days of Pearly Spencer. The album is divided two sections, Grit and Glitter. The first five songs constituted the Grit and were produced by Almond, Billy McGee, Nigel Hine, the Glitter side was produced by Trevor Horn. The artwork was designed by Green Ink with a photograph by Klanger. The album cover mimics the style of German record label Deutsche Grammophons classical records, all tracks written by Marc Almond, except where indicated. Marc Almond - vocals, arranger Anne Dudley - keyboards, arranger, orchestration J. J
24.
Secret Chiefs 3
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Secret Chiefs 3 is an avant-garde group led by guitarist/composer Trey Spruance. The bands name was inspired by the Secret Chiefs said to inspire and guide various esoteric and mystical groups, in 2007, it was announced Secret Chiefs 3 has always been a general name for seven different bands, each representing a different aspect of Spruances musical and philosophical interests. The seven bands are Electromagnetic Azoth, UR, Ishraqiyun, Traditionalists, Holy Vehm, FORMS, Spruance has stated that the sound collages of Electromagnetic Azoth serve as the center of Secret Chiefs 3. The albums Book of Horizons and Satellite Supersonic Vol.1 were conceived as compilation albums featuring the bands under their own names. All bands have appeared on at least one of these albums, some satellite bands have also released records on their own. So far, five of the bands have had tracks featured across a series of six 7 singles. Spruance formed the band in the mid-1990s with fellow Mr. Bungle members Trevor Dunn on bass, musicians tend to float in and out of SC3, so the concept of current and former members isnt entirely applicable. Below is a list of past and present members, guests and collaborators, This is a list of all releases by SC3, the column artist states under what name the recording is released, not who is credited with the individual songs. Media related to Secret Chiefs 3 at Wikimedia Commons Official Secret Chiefs 3 official website Secret Chiefs 3 at Web of Mimicry Free live recordings Secret Chiefs 3 at the Live Music Archive
25.
Mike Patton
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Patton was also the founder and lead singer of Mr. Bungle, and has played with Tomahawk, Fantômas, Lovage, The Dillinger Escape Plan, and Peeping Tom. Known for his influences and experimental projects, Patton has earned critical praise for his diverse array of vocal techniques. VVN Music found Patton to possess the highest vocal range of any singer in popular music. He has worked as a producer or co-producer with artists such as John Zorn, Sepultura, Melvins, Melt-Banana and he co-founded Ipecac Recordings with Greg Werckman in 1999, and has run the label since. Pattons vast number of musical endeavours and constant touring have led to him being identified as a workaholic. Patton was born and raised in Eureka, California, where he formed Mr. Bungle, with Trey Spruance and Trevor Dunn, according to Steffan Chirazis 1993 book The Real Story, Patton first met Faith No More during 1986. In the book, Patton was quoted as saying Faith No More played Eureka in a pizza parlour place Mr. Bungle played dozens of times, there were 6 people there and 3 of them were my friends. It was really bad, a really pathetic show and I remember them standing around the van really upset, puffy was really uptight wanting to know where to get weed. Nobody was talking to him, I think he asked us because we were just hanging around and their situation then never even registered with me, touring was unreal, Warner Bros. was like a Tom and Jerry cartoon. At that time I didnt wanna know any of that shit. Patton was approached to join Faith No More after they heard Mr. Bungles demo tapes in 1988 and this forced him to quit his studies at Humboldt State University. In January 1989, he officially replaced Chuck Mosley as lead singer of the group, Mosley subsequently formed the bands Cement and VUA, and has had several special one-off performances at shows with Faith No More and Patton. Faith No Mores The Real Thing was released in 1989, the album reached the top ten on the US charts, thanks largely to MTVs heavy rotation of the Epic music video. Faith No More released three studio albums before disbanding in 1998. To coincide with the reunion tour, Rhino released the sixth Faith No More compilation. The same line-up eventually released a new album called Sol Invictus in 2015, when interviewed about his lyrical content with Faith No More, Patton responded, I think that too many people think too much about my lyrics. I am more a person who works more with the sound of a word than with its meaning, often I just choose the words because of the rhythm, not because of the meaning. During his time in Faith No More, Patton continued to work with Mr. Bungle and his success in mainstream rock and metal ultimately helped secure Mr. Bungle a record deal with Warner Bros
26.
Mimicry
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Mimicry may evolve between different species, or between individuals of the same species. Often, mimicry evolves to protect a species from predators, making it an antipredator adaptation, the resemblances that evolve in mimicry can be in appearance, behaviour, sound or scent. Mimicry may be to the advantage of organisms that share a resemblance, in which case it is a mutualism, or mimicry can be to the detriment of one. Mimicry occurs when a group of organisms, the mimics, evolve to share perceived characteristics with another group, the evolutionary convergence between groups is driven by the selective action of a signal-receiver or dupe. Birds, for example, use sight to identify palatable insects, over time, palatable insects may evolve to resemble noxious ones, making them mimics and the noxious ones models. In the case of mutualism, sometimes both groups are referred to as co-mimics, in its broadest definition, mimicry can include non-living models. The specific terms masquerade and mimesis are sometimes used when the models are inanimate, for example, animals such as flower mantises, planthoppers and geometer moth caterpillars that resemble twigs, bark, leaves or flowers practice masquerade. Some authors would consider this mimicry, others would not, many animals bear eyespots, which are hypothesized to resemble the eyes of larger animals. They may not resemble any specific organisms eyes, and whether or not animals respond to them as eyes is also unclear, nonetheless, eyespots are the subject of a rich contemporary literature. It is often thought that models must be more abundant than mimics, though visual mimicry through animal coloration is most obvious to humans, other senses such as olfaction or hearing may be involved, and more than one type of signal may be employed. Mimicry may involve morphology, behaviour, and other properties, in any case, the mimetic signal always functions because it resembles that of another organism. In evolutionary terms, this phenomenon is a form of co-evolution and it can involve an evolutionary arms race if mimicry negatively affects the model, and the model can evolve a different appearance from the mimic. Mimics may have different models for different life stages, or they may be polymorphic. Models themselves may have more than one mimic, though frequency dependent selection favours mimicry where models outnumber mimics, models tend to be relatively closely related organisms, but mimicry of vastly different species is also known. Most known mimics are insects, though many other animal mimics are known, Plants and fungi may also be mimics, though less research has been carried out in this area. Use of the word dates to 1637. It derives from the Greek term mimetikos, imitative, in turn from mimetos, originally used to describe people, mimetic was used in zoology from 1851, mimicry from 1861. Many types of mimicry have been described, an overview of each follows, highlighting the similarities and differences between the various forms
27.
Mr. Bungle
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Mr. Bungle was an American experimental rock band from Eureka, California. Mr. Bungle released four demo tapes in the mid to late 1980s before being signed to Warner Bros. Records, the band toured in 1999 and 2000 to support their last album before going on hiatus, ultimately revealing that they had dissolved in 2004. Although Mr. Members were based in San Francisco during the bands tenure with Warner Bros, Mr. Bungle was known for its highly eclectic style, often cycling through several musical genres within the course of a single song. Many of its songs had a structure and utilized a wide array of instruments. Live shows often featured members dressing up and an array of cover songs, Mr. Bungle formed in 1985 in Eureka, California, while the members were still in high school. The band initially consisted of Trevor Dunn, Mike Patton, Trey Spruance, Theo Lengyel, Watts was subsequently replaced by Hans Wagner, and then by Danny Heifetz, while Clinton Bär McKinnon joined in 1989. The bands name was taken from Lunchroom Manners, a 1959 childrens educational film which was featured in a Pee-wee Herman Show HBO special in the early 1980s. In it, a school class with a young boy named Phil watch a puppet show about an ill-mannered boy named Mr. Bungle. The short film was a very straight-laced attempt to teach children good deportment, the version shown on The Pee-wee Herman Show had a laugh track added, which gently ridiculed the strict code of conduct promoted in the film. They played their first show during November 1985 at the Bayside Grange Hall, the bands first demo, The Raging Wrath of the Easter Bunny, was recorded during Easter of 1986. It featured a fast, low-fi death/thrash sound, with touches of ska, instruments utilized on the album included a train whistle, saxophone, bongos and a kazoo. The Raging Wrath of the Easter Bunny was followed in 1987 by the Bowl of Chiley demo, it featured a much greater ska presence, as well as the sounds of jazz, swing and funk. Bradley Torreano noted at AllMusic that the recording was essentially the sound of some very talented teenagers trying to make their love of jazz, in 1988, Mr. Bungle released their third demo, Goddammit I Love America. Which was musically similar to Bowl of Chiley, Mike Patton described its style as funkadelic, thrashing, circus, ska. In 1988, Mike Patton became the lead vocalist for San Franciscos Faith No More, Patton continued to be a member of both bands simultaneously. Their final demo tape was OU818, released in 1989, this recording was the first to feature sax player Clinton Bär McKinnon. OU818 combined songs from the demos, along with some new tracks. At the time of release, Mike Patton described Mr. Bungle as a weirdo funk band
28.
Trey Spruance
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Preston Lea Trey Spruance III is an American composer, producer, and musician, perhaps best known as guitarist and keyboardist with Mr. Bungle. He is also leader of the multi-genre outfit Secret Chiefs 3, originally a guitarist and trumpeter, Spruance later began playing vintage electronic organs, saz, santur, electric sitar, tar, pipa, and various other string and percussion instruments. Spruance was a member of Mr. Bungle, along with Mike Patton. He has focused on his band Secret Chiefs 3 for the last 15 years, though once secular, Spruance began exploring spiritual themes in Secret Chiefs 3 after joining the Eastern Orthodox Church. Spruance has toured extensively as Secret Chiefs 3 band leader, Spruance regularly expands Secret Chiefs 3 into hybrid ensembles of varying sizes. In 2013 he scored his music for the 61-piece Traditional Russian Orchestra of Krasnoyarsk and performed with orchestra in Kansk, Siberia. He has performed with John Zorn and works regularly in Secret Chiefs 3 with Eyvind Kang, Ches Smith and he also contributed some guitar and tubular bells to the ASVA recordings Futurists Against the Ocean and What You Dont Know Is Frontier with whom he toured the US and Europe. He, notably also recorded with Patton for Faith No More on their 1995 album King for a Day, Spruance has often worked as a producer, beginning with Mr. Bungles albums Disco Volante and California. In 2001, Spruance produced Chicago-based rock band Tub rings first full-length album, in 2004, he produced the album Death After Life for Oakland, CA death metal group Impaled, also contributing guitar solos for their songs Resurrectionists, and Medical Waste. Other production duties have included Ill Have Whats Shes Having by The Tuna Helpers, sampling and foley work also play a large role in his recordings. The only movie score he has worked on thus far was for a micro-independent, The Anna Cabrini Chronicles, Mr. Bungle The Raging Wrath of the Easter Bunny Bowel of Chiley Goddammit I Love America. OU818 Mr.1 Book of Souls Perichoresis Weird Little Boy Weird Little Boy With Eyvind Kang Theater of Mineral NADEs Faith No More King for a Day
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International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
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Grand Jacques
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Grand Jacques is the début album by Belgian singer-songwriter Jacques Brel. The original album, titled Jacques Brel et ses Chansons, was released in March 1954 as a nine-song 10-inch LP by Philips Records, the original nine tracks were recorded on 15 February 1954 at Théâtre de lApollo in Paris. A later reissue of the album under the title Jacques Brel 1 was released by Barclay and included tracks from 1953,1955,1956. The album was reissued on 23 September 2003 under the title Grand Jacques as part of the 16-CD box set Boîte à Bonbons by Barclay, in her review for AllMusic, Amy Hanson called the album a marvelous disc and a masterful collection of songs recorded. Hanson continued, While Brel already has a sense of his lyric and arrangement. But what is perhaps most interesting about Grand Jacques is how spare and these songs date to the years before Brel began working with longtime arrangers Gérard Jouannest and Françoise Rauber, and therefore, the. Songs lack the sweeping orchestration that would punctuate the singers later work, and that is the utter joy of this set. From the title track and the stunningly sparse Il Pleut Les Carreaux and on to the utterly provincial Cest Comme Ca, all tracks written by Jacques Brel, except where noted. All tracks written by Jacques Brel, tracks 1–9 constituted the original 1954 album. Tracks 10–15 were added to the album when it was reissued as part of the 16-CD box set Boîte à Bonbons, the French 1988 edition Intégrale Grand Jacques has 23 tracks
31.
Quand on n'a que l'amour
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Quand on na que lamour is the second studio album by Jacques Brel. Also known as Jacques Brel 2, the album was released in April 1957 by Philips. The album was reissued on 23 September 2003 under the title Quand on na que lamour as part of the 16-CD box set Boîte à Bonbons by Barclay. The title song Quand on a que lamour has been covered by Dalida, Céline Dion, Lara Fabian, Patricia Kaas, tracks 1–10 constituted the original 1957 album, recorded at the Théâtre de lApollo, Paris. Track 11 was added when it was reissued as part of the 16-CD box set Boîte à Bonbons, Jacques Brel – composer, vocals André Popp – orchestra conductor Michel Legrand – orchestra conductor François Rauber – orchestra conductor A. Vénéroni – artwork
32.
Au Printemps (album)
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Au Printemps is the third studio album by Jacques Brel. Also known as Jacques Brel 3, the record was released in 1958. The album was reissued on 23 September 2003 under the title Au Printemps as part of the 16-CD box set Boîte à Bonbons by Barclay, tracks 1–10 constituted the original 1958 album. Tracks 11–13 were added to the album when it was reissued as part of the 16-CD box set Boîte à Bonbons, Jacques Brel – composer, vocals André Popp – orchestra conductor François Rauber – orchestra conductor Jean-Marie Guérin – mastering Henri Guilbaud – photography
33.
Les Bourgeois
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Les Bourgeois is the sixth studio album by Jacques Brel. Also known as Jacques Brel, the album was released on Barclay Records on 15 March 1962, later, on 4 April, a 10 maxi-single containing of 8 of the albums tracks was released. The same year saw the release of a limited, special edition release of the album consisted of the original LP with Jacques Brel written diagonally across its white cover. This edition was numbered on the front and hand signed on the back and it was reissued on 23 September 2003 under the title Les Bourgeois as part of the 16-CD box set Boîte à Bonbons by Barclay. Recorded at Studio Barclay-Hoche in Paris, tracks 1–12 constituted the original 1962 album. Tracks 13–14 were added to the album when it was reissued as part of the 16-CD box set Boîte à Bonbons
34.
Les Bonbons (album)
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Les Bonbons is Jacques Brels seventh studio album. Also known as Les Vieux, Jacques Brel Accompagné par François Rauber et Son Orchestre, and Encore, the original 1966 album was itself a composite of two earlier 10 releases, one from 1963 and one from 1964. The album was reissued on 23 September 2003 under the title Les Bonbons as part of the 16-CD box set Boîte à Bonbons by Barclay, tracks 1–12 constituted the original 1966 album. Tracks 13–14 were added to the album when it was reissued as part of the 16-CD box set Boîte à Bonbons
