Peter Erskine is an American jazz drummer, a member of the jazz fusion groups Weather Report and Steps Ahead. Erskine was born in Somers Point, New Jersey, U. S, he began playing the drums at the age of four. He graduated from the Interlochen Arts Academy in Michigan studied percussion at Indiana University, his professional career started in 1972. After three years with Kenton he joined Maynard Ferguson for two years. In 1978 he joined Weather Report. After four years and five albums with Weather Report and the Jaco Pastorius big band Word of Mouth, he joined Steps Ahead, he was featured on Kate Bush's 2005 album Aerial, where Erskine teamed with bass player Eberhard Weber. Diana Krall, Eliane Elias, Queen Latifah and Linda Ronstadt, as well as Scottish and Finnish Classical Orchestras, have had Erskine perform as a featured musician. In 1983, he performed on the Antilles Records release Swingrass'83. In 2011, he appeared on stage at London in the new opera Anna Nicole. Erskine splits his time as a musician and that of a professor at the Thornton School of Music at the University of Southern California.
In 1992, he was awarded an Honorary Doctorate of Music from Berklee College of Music. 1982 Peter Erskine 1987 Transition 1988 Motion Poet 1989 Aurora 1991 Sweet Soul 1993 You Never Know 1994 Time Being 1995 From Kenton to Now with Richard Torres 1995 History of the Drum 1996 As It Is 1997 Lava Jazz 1999 Juni 2000 Live at Rocco 2001 Side Man Blue 2002 Badlands 2007 Worth the Wait with Tim Hagans 2010 The Interlochen Concert 2011 Joy Luck 2015 Dr. Um 2016 Second Opinion 2016 In Praise of Shadows 2018 On Call Source: 1986 Current Events with John Abercrombie, Marc Johnson 1989 John Abercrombie / Marc Johnson / Peter Erskine 1991 Star with Jan Garbarek, Miroslav Vitous 1995 Traction Avant with Alessandro Galati, Palle Danielsson 1997 Jason Salad! with Alessandro Galati, John Patitucci, Bob Sheppard 1998 Live at the Baked Potato with Dirk K. Jörg Kleutgens 1998 Turnage: Blood on the Floor with John Scofield, Martin Robertson, Peter Rundel 1999 Justin Morell Quartet with Justin Morell, Russell Ferrante, Jimmy Johnson 2000 The Hudson Project with John Abercrombie, Bob Mintzer, John Patitucci 2002 Turnage: Fractured Lines with Evelyn Glennie, Christian Lindberg, Leonard Slatkin 2004 ELB with Nguyên Lê, Michel Benita 2008 Dream Flight with ELB 2009 The Trio Live @ Charlie O's 2010 Scenes from a Dream with Chris Minh Doky, Larry Goldings 2011 Standards 2: Movie Music with Bob Mintzer, Darek Oleszkiewicz, Alan Pasqua 2015 Trio M/E/D with Palle Danielsson, Rita Marcotulli 2016 How Long Is Now? with Lars Danielsson, Iiro Rantala Source: Time Awareness The Erskine Method for Drumset My Book The Drum Perspective Drum Concepts and Techniques No Beethoven: An Autobiography and Chronicle of Weather Report The Erskine Method for Drumset Official website Podcast featuring "Joy Luck" by Peter Erskine Peter Erskine Interview NAMM Oral History Library
Hugh Ramapolo Masekela was a South African trumpeter, cornetist and composer, described as "the father of South African jazz". Masekela was known for his jazz compositions and for writing well-known anti-apartheid songs such as "Soweto Blues" and "Bring Him Back Home", he had a number-one US pop hit in 1968 with his version of "Grazing in the Grass". Masekela was born in KwaGuqa Township, South Africa, to Thomas Selena Masekela, a health inspector and sculptor and his wife, Pauline Bowers Masekela, a social worker; as a child, he began singing and playing piano and was raised by his grandmother, who ran an illegal bar for miners. At the age of 14, after seeing the 1950 film Young Man with a Horn, Masekela took up playing the trumpet, his first trumpet was bought for him from a local music store by Archbishop Trevor Huddleston, the anti-apartheid chaplain at St. Peter's Secondary School now known as St. Martin's School. Huddleston asked the leader of the Johannesburg "Native" Municipal Brass Band, Uncle Sauda, to teach Masekela the rudiments of trumpet playing.
Masekela mastered the instrument. Soon, some of his schoolmates became interested in playing instruments, leading to the formation of the Huddleston Jazz Band, South Africa's first youth orchestra; when Louis Armstrong heard of this band from his friend Huddleston he sent one of his own trumpets as a gift for Hugh. By 1956, after leading other ensembles, Masekela joined Alfred Herbert's African Jazz Revue. From 1954, Masekela played music that reflected his life experience; the agony and exploitation South Africa faced during the 1950s and 1960s inspired and influenced him to make music and spread political change. He was an artist who in his music vividly portrayed the struggles and sorrows, as well as the joys and passions of his country, his music protested about apartheid, government. Masekela reached a large population that felt oppressed due to the country's situation. Following a Manhattan Brothers tour of South Africa in 1958, Masekela wound up in the orchestra of the musical King Kong, written by Todd Matshikiza.
King Kong was South Africa's first blockbuster theatrical success, touring the country for a sold-out year with Miriam Makeba and the Manhattan Brothers' Nathan Mdledle in the lead. The musical went to London's West End for two years. At the end of 1959, Dollar Brand, Kippie Moeketsi, Makhaya Ntshoko, Johnny Gertze and Hugh formed the Jazz Epistles, the first African jazz group to record an LP, they performed to record-breaking audiences in Johannesburg and Cape Town through late 1959 to early 1960. Following the 21 March 1960 Sharpeville massacre—where 69 protestors were shot dead in Sharpeville, the South African government banned gatherings of ten or more people—and the increased brutality of the Apartheid state, Masekela left the country, he was helped by Trevor Huddleston and international friends such as Yehudi Menuhin and John Dankworth, who got him admitted into London's Guildhall School of Music in 1960. During that period, Masekela visited the United States, where he was befriended by Harry Belafonte.
After securing a scholarship back in London, he moved to the United States to attend the Manhattan School of Music in New York, where he studied classical trumpet from 1960 to 1964. In 1964, Mariam Makeba and Masekela were married, divorcing two years later, he had hits in the United States with the pop jazz tunes "Up, Up and Away" and the number-one smash "Grazing in the Grass", which sold four million copies. He appeared at the Monterey Pop Festival in 1967, was subsequently featured in the film Monterey Pop by D. A. Pennebaker. In 1974, Masekela and friend Stewart Levine organised the Zaire 74 music festival in Kinshasa set around the Rumble in the Jungle boxing match, he played in jazz ensembles, with guest appearances on recordings by The Byrds and Paul Simon. In 1984, Masekela released the album Techno Bush. In 1987, he had a hit single with "Bring Him Back Home"; the song became enormously popular, turned into an unofficial anthem of the anti-apartheid movement and an anthem for the movement to free Nelson Mandela.
A renewed interest in his African roots led Masekela to collaborate with West and Central African musicians, to reconnect with Southern African players when he set up with the help of Jive Records a mobile studio in Botswana, just over the South African border, from 1980 to 1984. Here he re-absorbed and re-used mbaqanga strains, a style he continued to use following his return to South Africa in the early 1990s. In 1985 Masekela founded the Botswana International School of Music, which held its first workshop in Gaborone in that year; the event, still in existence, continues as the annual Botswana Music Camp, giving local musicians of all ages and from all backgrounds the opportunity to play and perform together. Masekela taught the jazz course at the first workshop, performed at the final concert. In the 1980s, Masekela toured with Paul Simon in support of Simon's album Graceland, which featured other South African artists such as Ladysmith Black Mambazo, Miriam Makeba, Ray Phiri, other elements of the band Kalahari, co-founded by guitarist Banjo Mosele and which backed Masekela in the 1980s.
As well as recording with Kalahari, he collaborated in the musical development for the Bro
Scott Walker (singer)
Scott Walker was an American-born British singer-songwriter and record producer. Walker was known for his distinctive baritone voice and an unorthodox career path which took him from 1960s teen pop icon to 21st-century avant-garde musician. Walker's success was in the United Kingdom, where his first three solo albums reached the top ten, he lived in the UK from 1965 and became a British citizen in 1970. Rising to fame in the mid-1960s as frontman of the pop music trio the Walker Brothers, he began a solo career with 1967's Scott, moving toward an challenging baroque pop style on late-1960s albums such as Scott 3 and Scott 4. After his solo work did not sell well, he reunited with the Walker Brothers in the mid-1970s. From the mid-1980s onward, Walker revived his solo career while moving in an avant-garde direction. Walker continued to record and release music until 2018, was last signed to the label 4AD, he was described by the BBC upon his death as "one of the most enigmatic and influential figures in rock history".
Noel Scott Engel was born on January 9, 1943, in Hamilton, Ohio, US, the son of Elizabeth Marie, from Montreal, Quebec and Noel Walter Engel. His father was an oil industry manager whose work led the family to various successive homes in Ohio, Texas and New York. Scott and his mother settled in California in 1959. Engel was interested in both music and performance and spent time as a child actor and singer in the late 1950s. Championed by singer and TV host Eddie Fisher, he appeared several times on Fisher's TV series and recorded several songs – one of, called "Misery" – which saw him marketed as a teen idol. At the time of his arrival in Los Angeles, Scott had changed both his taste and his direction. Interested in the progressive jazz of Stan Kenton and Bill Evans, he was a self-confessed "Continental suit-wearing natural enemy of the Californian surfer" and a fan of European cinema and the Beat poets. In between attending art school and furthering his interests in cinema and literature, Scott played bass guitar and was proficient enough to get session work in Los Angeles as a teenager.
In 1961, after playing with The Routers, he met guitarist and singer John Maus, using the stage name John Walker as a fake ID to enable him to perform in clubs while under age. At first they formed a new band and the Gents, backing John Walker's sister Judy Maus, before joining other musicians to tour as The Surfaris. In early 1964, Scott and John Walker began working together as the Walker Brothers in the year linking up with drummer Gary Leeds, whose father financed the trio's first trip to the UK; as a trio, the Walker Brothers cultivated a handsome familial image. Prompted by Maus, each of the members took "Walker" as their stage surname. Scott continued to use the name Walker thereafter, with the brief exception of returning to his birth name for the original release of his fifth solo album Scott 4, in songwriting credits. John served as guitarist and main lead singer of the trio, with Gary on drums and Scott playing bass guitar and singing harmony vocals. By early 1965, the group had made appearances on TV shows Hollywood A Go-Go and Shindig and had made initial recordings, but the start of their real success lay in the future and overseas.
While working as a session drummer, Leeds had toured the United Kingdom with P. J. Proby, persuaded both John and Scott to try their luck with him on the British pop scene; the Walker Brothers arrived in London in early 1965. Their first single, "Pretty Girls Everywhere" did not place highly, their next single, "Love Her" – with Scott's deeper baritone in the lead – was a more substantial chart hit and he became the group's frontman. The Walker Brothers' next release, "Make It Easy on Yourself", a Bacharach/David ballad, swept to No. 1 on the UK Singles Chart on release in August 1965. After hitting again with "My Ship Is Coming In", their second No. 1, "The Sun Ain't Gonna Shine Any More", shot to the top in early 1966. In any case, the Walker Brothers lead singer Scott, attained pop star status. Finding suitable material was always a problem; the Walkers' 1960s sound mixes Phil Spector's "wall of sound" techniques with symphonic orchestrations featuring Britain's top musicians and arrangers, notably Ivor Raymonde.
Scott served as effective co-producer of the band's records throughout this period described as a "parallel, if invisible Walker Brothers." Many of their earlier numbers had a driving beat, but by Images, their third album, ballads predominated. By the time of Images, John Walker's musical influence on the Walker Brothers had waned and this led to tensions between him and Scott. For his part, Scott was finding the group a chafing experience – "There was a lot of pressure. I was coming up with all the material for the boys, I was having to find songs and getting the sessions toget
Weather Report was an American jazz fusion band of the 1970s and early 1980s. The band was co-led by the Austrian-born keyboard player Joe Zawinul, the American saxophonist Wayne Shorter and Czech bassist Miroslav Vitouš. Other prominent members at various points in the band's lifespan included bassists Alphonso Johnson, Jaco Pastorius and Victor Bailey. Throughout most of its existence, the band was a quintet of keyboards, bass and percussion; the band began as an avant-garde jazz group. Despite these developments, during the mid-1970s Weather Report remained one of the defining acts within the jazz form, winning the DownBeat best album award five times in a row. Alongside Miles Davis's electric bands, the Mahavishnu Orchestra, Return to Forever, Headhunters, Weather Report is considered to be one of the pre-eminent early jazz fusion bands. Over their 16-year career, Weather Report explored various areas of music, centered on jazz, but including various elements of art music, ethnic music, R&B, rock.
While their work was categorized as "jazz fusion", the band members themselves rejected the term. From the start, Weather Report took the unusual and innovative approach of abandoning the traditional "soloist/accompaniment" demarcation of straight-ahead jazz and instead featuring opportunities for continuous improvisation by every member of the band; this position remained consistent throughout the life of the band. From the mid-1970s, individual solos became more prominent, but were never allowed to overwhelm the music's collective approach; the band's music featured a free, extended improvisational method, but by the mid-1970s, this had moved towards more groove-oriented and prestructured music. Joe Zawinul's playing style was dominated by quirky melodic improvisations combined with sparse but rhythmic big-band chords or bass lines. Having made his name as a pioneering electric piano player, he went on to develop the role of the synthesizer in jazz during his time with Weather Report. Working with companies such as ARP and Oberheim, Zawinul developed new ways of voicing and patching electronic tones for textures, ensemble roles and soloing.
In Weather Report, he employed a vocoder, as well as recorded sounds played through a synthesizer, creating a distinctive beautiful, synthesis of jazz harmonics and "noise". On some Weather Report tunes, Zawinul's synthesized arrangements dominated the sound. Wayne Shorter came to the group with a reputation as a dominant role as an instrumentalist, drawn from both his solo work and his contributions to Miles Davis' "second great quintet" during the 1960s, his choice not to follow the same approach with Weather Report led to some criticism of the group. During his time with Weather Report, Shorter was noted for playing saxophone with an economical, "listening" style. Rather than continually taking the lead, he added subtle harmonic, and/or rhythmic complexity by responding to other member's improvisations; as a composer, he chose a more abstract, sometimes atonal and "free jazz" style of music, opposed to the sometimes flamboyant melodicism of the tunes written by Zawinul or Pastorius. Playing both tenor and soprano saxophones, Shorter continued to develop the role of the latter instrument in jazz, taking his cue from previous work by Coltrane, Sidney Bechet, Lucky Thompson, Steve Lacy.
Weather Report maintained a consistent interest in a textured sound and developments in music technology and processing. Both Zawinul and original bassist Miroslav Vitouš experimented with electronic effects pedals with Zawinul using them on electric piano and synthesizers and Vitouš on his upright bass; the band's third bass player, Jaco Pastorius, popularized the use of fretless bass guitar, melodic bass soloing and extensive use of string harmonics, as well as consolidating the driving R&B pulse in the band's music. With the exception of a brief quartet period between 1978 and 1979, Weather Report's instrumentation always included both a drummer alongside a percussionist. For its first eight years of existence, the group had difficulty finding a permanent drummer, moving through about one drummer per year until Jaco Pastorius helped to recruit Peter Erskine in 1978. Erskine and Omar Hakim were the only Weather Report drummers who played with the band for more than two years. Joe Zawinul and Wayne Shorter had first met and become friends in 1959 while they were playing in Maynard Ferguson's Big Band.
Zawinul went on to play with Cannonball Adderley's group in the 1960s, while Shorter joined Art Blakey's Jazz Messengers and in 1964, Miles Davis' second great quintet. During this decade, both men ma
Do They Hurt?
Do They Hurt? is an album by British jazz fusion group Brand X. The tracks on this album are outtakes from the Product sessions. "Noddy Goes to Sweden" – 4:30 "Voidarama" – 4:21 "Act of Will" – 4:43 "Fragile" – 5:26 "Cambodia" – 4:31 "Triumphant Limp" – 7:34 "D. M. Z." – 8:39 John Goodsall – guitar, vocals J. Peter Robinson – keyboards, Synth Robin Lumley – piano, keyboards Percy Jones – bass, vocals John Giblin – bass Mike Clark – drums Phil Collins – drums Morris Pert – percussion Robin Lumley: "To this day I can proudly count Michael Palin and Terry Jones as good pals! I got Mike to do the sleeve notes on Do They Hurt? (which is itself a line from Holy Grail... He wanted 25 pence for writing the notes... Charisma didn't pay him so he threatened to sue!". "Act of Will" is sung through a vocoder. John Goodsall himself said, in a private e-mail. Various attempts have been made to puzzle out what he is saying, but the words are similar to "Masoko Tanga" by The Police and are not always words; this album consists of out-takes from the Product sessions.
Because "Noddy Goes to Sweden" was included on this album, the song "Pool Room Blues" gains the distinction of being the only non-album Brand X song. "Brand X - Do They Hurt? at Discogs". Www.discogs.com. Retrieved 2010-01-08
Aerial is the eighth studio album by the English singer-songwriter and musician Kate Bush, released in 2005, twelve years after her 1993 album The Red Shoes. It is her only double album to date. Aerial is Bush's first double album, was released after a twelve-year absence from the music industry during which Bush devoted her time to family and the raising of her son, Bertie; the anticipation leading up to the album's release was immense, with press articles devoted to Bush being printed months years before. Like Bush's previous album, The Red Shoes, Aerial does not feature a cover photograph of Bush, but rather one, emblematic of the album's celebration of sky and birdsong; the cover image, which seems to show a mountain range at sunset reflected on the sea is in fact a waveform of a blackbird song superimposed over a glowing photograph. Aerial is one of Bush's most critically acclaimed albums. Musically, the album is a multi-layered work, incorporating elements of folk, classical, reggae and rock.
As with 1985's Hounds of Love, the album is divided into two thematically distinct collections. The first disc, subtitled A Sea of Honey, features a set of unrelated songs including the hit single "King of the Mountain", a Renaissance-style ode to her son "Bertie", performed with period instruments, "Joanni", based on the story of Joan of Arc. In the song " π ", Bush sings the number to its 78th decimal place from its 101st to its 137th decimal place; the piano and vocal piece "A Coral Room", dealing with the loss of Bush's mother and the passage of time, was hailed by critics as "stunning" in its simplicity, "profoundly moving" and as "one of the most beautiful" pieces Bush has recorded. The second disc, subtitled A Sky of Honey, consists of a single piece of music revelling in the experience of outdoor adventures on a single summer day, beginning in the morning and ending twenty-four hours with the next sunrise; the songs are saturated with the presence of birdsong, all refer to the sky and sunlight, with the sea featuring as an important element.
Beginning with blackbirds singing in the dawn chorus, a woodpigeon cooing, solo piano, Bush's son saying, "Mummy, the day is full of birds," the piece begins with an early morning awakening to a beautiful day of sun shining "like the light in Italy". The interlude "Aerial Tal", consists of Bush imitating various samples of birdsong, while "Somewhere in Between" celebrates the ambiguous nature of dusk. "Nocturn", features a pair of lovers bathing in the sea after dark under a star-studded "diamond sky". The song cycle ends with "Aerial" and its euphoric welcome of the following morning's sunrise with the refrain "I need to get up on the roof...in the sun." A Sky of Honey features Rolf Harris playing the didgeridoo and providing vocals on "An Architect's Dream" and "The Painter's Link". Other guest artists include Peter Erskine, Eberhard Weber, Lol Creme and Procol Harum's Gary Brooker. In one of his final projects before his death in 2003, long-time Bush collaborator Michael Kamen arranged the string sections, performed by the London Metropolitan Orchestra.
In the 2014 series of concerts in London, Before the Dawn, Bush performed "King of the Mountain," "Joanni" and the whole Sky of Honey song cycle live for the first time. On 13 November 2005, Aerial entered the UK Albums Chart at number three, selling more than 90,000 copies in its first week on release. In Canada, the album was certified Platinum. On 10 January 2006, Bush was nominated for two BRIT Awards for Best British Female Solo Artist and Best British Album for Aerial. On 27 January 2006, the album went up against Demon Days by Gorillaz and Coles Corner by Richard Hawley in the pop category of the South Bank Show's Annual Arts Awards, but was beaten by Hawley. UK music magazine Mojo named it their third best album of 2005, behind I Am a Bird Now by Antony and the Johnsons and Funeral by Arcade Fire. Rob Chapman, writing in The Times stated that "...its closing triptych, Somewhere in Between and Aerial, represents the most joyous and euphoric finale to an album that you will hear all year."
The only single from the album was "King of the Mountain". The song makes references to the film Citizen Kane; the track was played for the first time on BBC Radio 2 on 21 September 2005, was made available for download on 27 September. The B-side of the single was a Marvin Gaye cover, "Sexual Healing", recorded in 1994, is not available on any of her albums; the single entered the UK singles chart at no.4, gave Bush her first top-five hit in twenty years and her third-highest singles chart placing. The song peaked at no.6 on the UK download chart. As of mid-May 2010, Aerial was released for the first time on iTunes; the second disc, An Endless Sky of Honey, now runs as one continual track. In August 2010, the CD version was reissued by Sony Legacy in the United States; the following year Kate Bush re-released Aerial alongside others of her albums on her own label Fish People, where they appeared again in 2018 in remastered versions. In the 2018 remastered edition, A Sky of Honey is returned to its original eight tracks.
Spoken parts of "An Architect's Dream" and "The Painter's Link" by Rolf Harris are removed and replaced by Albert "Bertie" McIntosh, Kate Bush's son. On 17 May 2015, a sequence from the song "π" was featured on The Simpsons' twenty-sixth season finale, "Mathlete's Feat". All tracks written by Kate Bush. Kate Bush – vocals, piano Dan McInt
Chris de Burgh
Christopher John Davison, known professionally as Chris de Burgh, is a British-Irish singer-songwriter and instrumentalist. He subsequently started writing more pop-oriented material, he has had several top 40 hits in the UK and two in the US, but he is more popular in other countries Norway and Brazil. His 1986 love song "The Lady in Red" reached number one in several countries. De Burgh has sold over 45 million albums worldwide. De Burgh was born in Venado Tuerto, Argentina, to Colonel Charles John Davison, MBE, a British diplomat, Maeve Emily de Burgh, an Irish secretary, his maternal grandfather was Sir Eric de Burgh, a British Army officer, Chief of the General Staff in India during the Second World War. He took his mother's name, "de Burgh", his father had substantial farming interests, Chris spent much of his early years in Malta and Zaire, as he, his mother and brother accompanied Colonel Davison on his diplomatic and engineering work. The Davisons settled in Bargy Castle, County Wexford, somewhat dilapidated at the time.
It was a twelfth-century castle. He converted it into a hotel, the young Chris sang for the guests there. After attending Marlborough College in Wiltshire, England, de Burgh went on to graduate from Trinity College, with a Master of Arts degree in French and History. Chris de Burgh signed his first contract with A&M Records in 1974, supported Supertramp on their Crime of the Century tour, building himself a small fan base, his début album, Far Beyond These Castle Walls, was a folk-tinged stab at fantasy in the tradition of the Moody Blues. It failed to chart upon its release in late 1974. A few months he released a single called "Turning Round" from the album, released outside the UK and Ireland as "Flying", it failed to make an impression in the UK, but it stayed on top of the Brazilian charts for 17 weeks. This became a familiar pattern for the singer/songwriter, as every one of his 1970s albums failed to chart in the UK or US while they racked up big sales in continental European and South American countries.
In 1975 his second album, Spanish Train and Other Stories, was released. Whilst not a huge commercial success, the album and tour expanded the fan base, with de Burgh starting to attract a cult following. Along with the epic title track, other fan favourite tracks from the album included "Patricia The Stripper" and "A Spaceman Came Travelling". 1977's third album, At the End of a Perfect Day, whilst well received and featuring both former Fairport Convention drummer Dave Mattacks and Fairport drummer Gerry Conway, failed to push de Burgh's career leading to the release of his fourth album Crusader in 1979. Crusader took a more electric direction, including guitar contributions from Ian Bairnson, bass player David Paton, drummer Stuart Elliott, all of whom were working, at the time, with Kate Bush; the album featured Sky keyboard player Francis Monkman and Mike Moran. Whilst it attracted a significant number of new fans, Crusader still failed to break through in the UK and US. 1980's Eastern Wind failed to build further on the following in the major territories.
In 1981 de Burgh had his first UK chart entry with Best Moves, a collection culled from his early albums. It set the stage for 1982's Rupert Hine produced The Getaway, which reached number 30 in the UK charts and number 43 in the US, thanks to the eerie single "Don't Pay the Ferryman". Chris de Burgh's follow-up album, Man on the Line performed well, charting at 69 in the US and 11 in the UK. Chris de Burgh had an across-the-board success with the ballad "The Lady in Red" in late 1986; that Christmas season, a re-release of de Burgh's 1976 Christmas song "A Spaceman Came Travelling" became a Top 40 hit in the UK. Flying Colours, his follow-up to Into the Light, entered the British charts at number one upon its 1988 release, yet it failed to make the American charts. De Burgh never hit the US charts again and his commercial fortunes began to slide in Britain in the early 1990s, yet he retained a following around the world; this is due to inactivity of his previous recording label A&M Records UK division in the U.
S. In 1997 de Burgh composed a song entitled "There's a New Star Up in Heaven Tonight", dedicated to Diana, Princess of Wales; the song was released as a 100-copy limited edition and included on the compilations The Ultimate Collection and Now and Then. In 2007 a concert in Tehran was planned for mid-2008, together with local band Arian, which would have made Chris de Burgh the first western pop singer to perform in Iran since the 1979 revolution. However, the concert never went ahead because he had not been given permission by the Iranian authorities to perform in the country, he was the first Western act to play in Lebanon after the Lebanese Civil War. 1977–1978 – Jeff Philips, Glenn Morrow, Ken Allardyce, Colin Vallance 1979–1982 – Tim Wynveen, Jeff Philips, Glenn Morrow, Al Marnie, Ian Kojima 1983–1994 – Danny McBride, Jeff Philips, Glenn Morrow, Al Marnie, Ian Kojima 1997–2001 – Neil Taylor, Peter Oxendale, Tony Kiley, Dave Levy, Al Vosper 2002–2004 – Gary Sanctuary, Tim Cansfield, Dave Levy, Tony Kiley, Al Vosper 2006–??
– Ebbe Ravn