The Marquee Club was a music venue first located at 165 Oxford Street, England when it opened in 1958 with a range of jazz and skiffle acts. Its most famous period was from 1964 to 1988 at 90 Wardour Street in Soho, it closed when at 105 Charing Cross Road in 1996, though the name has been revived unsuccessfully three times in the 21st century, it was always a small and cheap club, located in the heart of the music industry in London's West End, used to launch the careers of generations of rock acts. It was a key venue for early performances by bands who were to achieve worldwide fame in the 1960s and remained a venue for young bands in the following decades, it was the location of the first-ever live performance by The Rolling Stones on 12 July 1962. The club was established by Harold Pendleton, an accountant whose love of jazz had led him to become secretary of the National Jazz Federation, it was located in the Marquee Ballroom in the basement of the Academy Cinema in Oxford Street, where dances had been held since the early 1950s.
Its decor was designed by Angus McBean with a striped canopy to imitate a marquee. Pendleton took over management of the ballroom, the first Jazz at the Marquee night was held on 19 April 1958. Johnny Dankworth, Chris Barber, Alexis Korner and Cyril Davies were early resident performers, Tubby Hayes and Joe Harriott were regular performers. In 1962 the club began a regular R&B night that featured visiting American musicians such as Muddy Waters. Pendleton launched the National Jazz Festival in 1961 in Richmond. By 1963 the club had become most noted for its R&B acts, including Davies, Brian Auger and Manfred Mann–who played there a record 102 times between 1962 and 1976–but Pendleton was forced to find a new venue when his lease expired. In March 1964 the club moved a short distance to what became its most famous venue with an entrance at 90 Wardour Street, with the actual music venue housed over two buildings. Here every major rock band of note played over the next 25 years on the tiny stage.
‘The Marquee in Wardour Street did not have an alcohol license until 1970. Jack Barrie along with Kenny Bell came up with the idea of opening a private bar above The Marquee at 100 Wardour Street, called La Chasse. Band residencies during the late 1960s included Alexis Korner, Cyril Davies, Chris Barber, The Rolling Stones, The Yardbirds, Led Zeppelin, The Who, King Crimson, The Syn, Mabel Greer's Toyshop, Jethro Tull, The Jimi Hendrix Experience and Pink Floyd. Another band that made regular appearances was The Manish Boys featuring David Bowie, who first played there in November 1964. To find out, playing on any given night, you could just call in at the'Ship' pub a few doors away. In 1964 Moody Blues manager/producer Alex Murray used a homemade studio in the garage at the back of the club to produce the classic "Go Now" single, which shot to No. 1 at Christmas 1964, filmed for it the first UK pop promo video. The development of Marquee Studios was financed by profits from this record; the studio was used by Elton John, The Groundhogs, The Clash and others.
The Rolling Stones, who first appeared at the club in January 1963, returned there on 26 March 1971 after an eight-year hiatus to film a television special. John Gee, a former accountant and journalist, became the manager of the Marquee Club during the 1960s and was a pivotal part of helping create what the Melody Maker termed "the most important venue in the history of pop music." Gee championed certain groups that played at the club such as Ten Years After and Jethro Tull, wrote the liner notes for Ten Years After’s eponymous 1967 debut album. Jethro Tull named the B-side of their second single, "A Song For Jeffrey", a jazz-flavoured instrumental, "One for John Gee." Gee introduced the bands to the audience. He left the Marquee Club in 1970 to take a job in the offices of Radio Luxembourg. Jack Barrie, the former manager of the Soho bar La Chasse took over as the manager of the Marquee in 1970; the Marquee Club nurtured a large social scene based around the record industry, with record company heads and their A&R representatives visiting the venue on a daily basis talent spotting.
The venue attracted many famous musicians and recording artists who used the VIP Bar to socialise in. The Marquee staff became an integral part of the club as much as the bands; the Faces performed at The Marquee on 7 December 1970. Queen performed at the club three times in the beginning of their career. First on 8 January 1971 on 20 December 1972, on 9 April 1973, as their first gig after signing with the Trident record company. In 1972, Status Quo took to the stage with a blistering set, including "Paper Plane", the video for, filmed during this gig. On 18, 19 & 20 October 1973, Be-Bop Deluxe and String Driven Thing appeared on the same bill in 1974, David Bowie filmed The 1980 Floor Show at the Marquee for the American NBC TV late night show The Midnight Special. NBC used the Marquee Studios as dressing rooms for the cast. Although never a seminal punk venue, the club embraced the burgeoning punk rock movement of the late 1970s and promoted punk and new wave nights into the 1980s. Bands such as Sex Pistols, X Ray Spex, The Boys and the Hot Rods, The Stranglers, Generation X, The Police, XTC, The Sinceros, the early Adam & the Ants, The Jam, Joy Division, The Sound and The Cure all trod the fa
Virgin Records Ltd. is a British record label founded by entrepreneurs Richard Branson, Simon Draper, Nik Powell, musician Tom Newman in 1972. It grew to be a worldwide phenomenon over time, with the success of platinum performers such as George Michael, Paula Abdul, Janet Jackson, Roy Orbison, Tangerine Dream, Keith Richards, the Human League, Culture Club, Simple Minds, Lenny Kravitz, dc Talk, the Smashing Pumpkins, Mike Oldfield and Spice Girls, among others. After its acquisition by Universal Music Group through its purchase of EMI in 2012, UMG absorbed Virgin's British operations to create Virgin EMI Records in March 2013. Today, the operations of Virgin Records America, Inc. the company's North American operations founded in 1986, are still active and headquartered in Hollywood and have operated under the Capitol Music Group imprint owned by UMG, since 2007. The US operations have taken on the name Virgin Records. A minor number of artists remain on Virgin Records America's roster, mostly occupied with European artists such as Bastille, Circa Waves, Corinne Bailey Rae, Ella Eyre, Walking on Cars, Seinabo Sey, Prides.
Branson and Powell had run a small record shop called Virgin Records and Tapes on Notting Hill Gate, specializing in "krautrock" imports, offering bean bags and free vegetarian food for the benefit of customers listening to the music on offer. The first real store was above a shoe shop at the Tottenham Court Road end of Oxford Street. After making the shop into a success, they turned their business into a fledged record label; the name Virgin, according to Branson, arose from Tessa Watts, a colleague of his, when they were brainstorming business ideas. She suggested Virgin – as they were all new to business – like "virgins"; the original Virgin logo was designed by English artist and illustrator Roger Dean: a young naked woman in mirror image with a large long-tailed serpent and the word "Virgin" in Dean's familiar script. A variation on the logo was used for the spin-off Caroline Records label; the first release on the label was the progressive rock album Tubular Bells by multi-instrumentalist Mike Oldfield, discovered by Tom Newman and brought to Simon Draper – who persuaded Richard and Nik to present it as their first release in 1973, produced by Tom Newman, for which the fledgling label garnered unprecedented acclaim.
This was soon followed by some notable krautrock releases, including electronic breakthrough album Phaedra by Tangerine Dream, The Faust Tapes and Faust IV by Faust. The Faust Tapes album retailed for 49p and as a result allowed this unknown band to reach number 12 in the album charts. Other early albums include Gong's Flying Teapot, which Daevid Allen has been quoted as having never been paid for; the first single release for the label was Kevin Coyne's "Marlene", taken from his album Marjory Razorblade and released in August 1973. Coyne was the second artist signed to the label after Oldfield. Although Virgin was one of the key labels of English and European progressive rock, the 1977 signing of the Sex Pistols reinvented the label as a new-wave outpost, a move that plunged the record company into the mainstream of the punk rock era. Under the guidance of Tessa Watts, Virgin's Head of Publicity, the Pistols rocketed the label to success. Shortly afterwards, the Nottingham record shop was raided by police for having a window display of the Sex Pistols' album Never Mind the Bollocks, Here's the Sex Pistols in the window.
Afterwards they signed other new wave groups: Public Image Ltd, Culture Club, Gillan and the Italians, Human League, Skids, the Motors, the Ruts, Shooting Star, Simple Minds, XTC. After modified versions of the twins label came the red and blue design introduced in 1975, which coincided with the height of punk and new wave; the current Virgin logo was created in 1978, commissioned by Simon Draper managing director of Virgin Records Limited. Brian Cooke of Cooke Key Associates commissioned a graphic designer to produce a stylised signature; the logo was first used on Mike Oldfield's Incantations album in 1978 and by the Virgin Records label until other parts of the Virgin Group adopted it, including Virgin Atlantic, Virgin Mobile and Virgin Money. In 1983 Virgin purchased Charisma Records, renaming it Charisma/Virgin later Virgin/Charisma, before folding the label in 1986 and transferring its remaining artists to Virgin. In the process they acquired comedy group Monty Python; the Charisma label was reactivated in the US in 1990 and enjoyed success with signings such as Maxi Priest, Right Said Fred, 38 Special and Enigma.
When this Charisma label was retired in 1992, all of its artists were, as before, transferred to Virgin. In 1987, Venture Records was created for new age and modern classical artists including Klaus Schulze, associated with Virgin since the early 1970s. 10 Records Immortal Records Delabel Caroline Records was a budget label used from 1973 to 1977. The name and
The Beatles were an English rock band formed in Liverpool in 1960. The line-up of John Lennon, Paul McCartney, George Harrison and Ringo Starr led the band to be regarded as the foremost and most influential in history. With a sound rooted in skiffle, beat and 1950s rock and roll, the group were integral to the evolution of pop music into an art form, to the development of the counterculture of the 1960s, they incorporated elements of classical music, older pop forms, unconventional recording techniques in innovative ways, in years experimented with a number of musical styles ranging from pop ballads and Indian music to psychedelia and hard rock. As they continued to draw influences from a variety of cultural sources, their musical and lyrical sophistication grew, they came to be seen as embodying the era's sociocultural movements. Led by primary songwriters Lennon and McCartney, the Beatles built their reputation playing clubs in Liverpool and Hamburg over a three-year period from 1960 with Stuart Sutcliffe playing bass.
The core trio of Lennon, McCartney and Harrison, together since 1958, went through a succession of drummers, including Pete Best, before asking Starr to join them in 1962. Manager Brian Epstein moulded them into a professional act, producer George Martin guided and developed their recordings expanding their domestic success after their first hit, "Love Me Do", in late 1962; as their popularity grew into the intense fan frenzy dubbed "Beatlemania", the band acquired the nickname "the Fab Four", with Epstein and other members of the band's entourage sometimes given the informal title of "fifth Beatle". By early 1964, the Beatles were international stars, leading the "British Invasion" of the United States pop market, breaking numerous sales records, they soon made their motion-picture debut with A Hard Day's Night. From 1965 onwards, they produced innovative recordings, including the albums Rubber Soul, Sgt. Pepper's The Beatles and Abbey Road. In 1968, they founded Apple Corps, a multi-armed multimedia corporation that continues to oversee projects related to the band's legacy.
After the group's break-up in 1970, all four members enjoyed success as solo artists. Lennon was shot and killed in December 1980. McCartney and Starr remain musically active; the Beatles are the best-selling band in history, with estimated sales of over 800 million records worldwide. They are the best-selling music artists in the US, with certified sales of over 178 million units, have had more number-one albums on the British charts, have sold more singles in the UK, than any other act; the group were inducted into the Rock and Roll Hall of Fame in 1988, all four main members were inducted individually between 1994 and 2015. In 2008, the group topped Billboard magazine's list of the all-time most successful artists; the band have received an Academy Award and fifteen Ivor Novello Awards. They were collectively included in Time magazine's compilation of the twentieth century's 100 most influential people. In March 1957, John Lennon aged sixteen, formed a skiffle group with several friends from Quarry Bank High School in Liverpool.
They called themselves the Blackjacks, before changing their name to the Quarrymen after discovering that a respected local group was using the other name. Fifteen-year-old Paul McCartney joined them as a rhythm guitarist shortly after he and Lennon met that July. In February 1958, McCartney invited his friend George Harrison to watch the band; the fifteen-year-old auditioned for Lennon, impressing him with his playing, but Lennon thought Harrison was too young for the band. After a month of Harrison's persistence, during a second meeting, he performed the lead guitar part of the instrumental song "Raunchy" on the upper deck of a Liverpool bus, they enlisted him as their lead guitarist. By January 1959, Lennon's Quarry Bank friends had left the group, he began his studies at the Liverpool College of Art; the three guitarists, billing themselves at least three times as Johnny and the Moondogs, were playing rock and roll whenever they could find a drummer. Lennon's art school friend Stuart Sutcliffe, who had just sold one of his paintings and was persuaded to purchase a bass guitar, joined in January 1960, it was he who suggested changing the band's name to Beatals, as a tribute to Buddy Holly and the Crickets.
They used this name until May, when they became the Silver Beetles, before undertaking a brief tour of Scotland as the backing group for pop singer and fellow Liverpudlian Johnny Gentle. By early July, they had refashioned themselves as the Silver Beatles, by the middle of August shortened the name to The Beatles. Allan Williams, the Beatles' unofficial manager, arranged a residency for them in Hamburg, but lacking a full-time drummer they auditioned and hired Pete Best in mid-August 1960; the band, now a five-piece, left four days contracted to club owner Bruno Koschmider for what would be a 31⁄2-month residency. Beatles historian Mark Lewisohn writes: "They pulled into Hamburg at dusk on 17 August, the time when the red-light area comes to life... flashing neon lights screamed out the various entertainment on offer, while scantily clad women sat unabashed in shop windows waiting for business opportunities." Koschmider had converted a couple of strip clubs in the district into music venues, he placed the Beatles at the Indra Club.
UK Singles Chart
The UK Singles Chart is compiled by the Official Charts Company, on behalf of the British record industry, listing the top-selling singles in the United Kingdom, based upon physical sales, paid-for downloads and streaming. The Official Chart, broadcast on BBC Radio 1 and MTV, is the UK music industry's recognised official measure of singles and albums popularity because it is the most comprehensive research panel of its kind, today surveying over 15,000 retailers and digital services daily, capturing 99.9% of all singles consumed in Britain across the week, over 98% of albums. To be eligible for the chart, a single is defined by the Official Charts Company as either a'single bundle' having no more than four tracks and not lasting longer than 25 minutes or one digital audio track not longer than 15 minutes with a minimum sale price of 40 pence; the rules have changed many times as technology has developed, the most notable being the inclusion of digital downloads in 2005 and streaming in July 2014.
The OCC website contains the Top 100 chart. Some media outlets only list the Top 75 of this list; the chart week runs from 00:01 Friday to midnight Thursday, with most UK physical and digital singles being released on Fridays. From 3 August 1969 until 5 July 2015, the chart week ran from 00:01 Sunday to midnight Saturday; the Top 40 chart is first issued on Friday afternoons by BBC Radio 1 as The Official Chart from 16:00 to 17:45, before the full Official Singles Chart Top 100 is posted on the Official Charts Company's website. A rival chart show, The Vodafone Big Top 40, is based on iTunes downloads and commercial radio airplay across the Global Radio network only, is broadcast on Sunday afternoons from 16:00 to 19:00 on 145 local commercial radio stations across the United Kingdom; the Big Top 40 is not regarded by the industry or wider media. There is a show called "Official KISS Top 40", counting down 40 most played songs on Kiss FM every Sunday 17:00 to 19:00; the UK Singles Chart began to be compiled in 1952.
According to the Official Charts Company's statistics, as of 1 July 2012, 1,200 singles have topped the UK Singles Chart. The precise number of chart-toppers is debatable due to the profusion of competing charts from the 1950s to the 1980s, but the usual list used is that endorsed by the Guinness Book of British Hit Singles and subsequently adopted by the Official Charts Company; the company regards a selected period of the New Musical Express chart and the Record Retailer chart from 1960 to 1969 as predecessors for the period prior to 11 February 1969, where multiples of competing charts coexisted side by side. For example, the BBC compiled its own chart based on an average of the music papers of the time; the first number one on the UK Singles Chart was "Here in My Heart" by Al Martino for the week ending date 14 November 1952. As of the week ending date 18 April 2019, the UK Singles Chart has had 1352 different number-one hits; the current number-one single is "Someone You Loved" by Lewis Capaldi.
Before the compilation of sales of records, the music market measured a song's popularity by sales of sheet music. The idea of compiling a chart based on sales originated in the United States, where the music-trade paper Billboard compiled the first chart incorporating sales figures on 20 July 1940. Record charts in the UK began in 1952, when Percy Dickins of the New Musical Express gathered a pool of 52 stores willing to report sales figures. For the first British chart Dickins telephoned 20 shops, asking for a list of the 10 best-selling songs; these results were aggregated into a Top 12 chart published in NME on 14 November 1952, with Al Martino's "Here in My Heart" awarded the number-one position. The chart became a successful feature of the periodical. Record Mirror compiled its own Top 10 chart for 22 January 1955; the NME chart was based on a telephone poll. Both charts expanded in size, with Mirror's becoming a Top 20 in October 1955 and NME's becoming a Top 30 in April 1956. Another rival publication, Melody Maker, began compiling its own chart.
It was the first chart to include Northern Ireland in its sample. Record Mirror began running a Top 5 album chart in July 1956. In March 1960, Record Retailer had a Top 50 singles chart. Although NME had the largest circulation of charts in the 1960s and was followed, in March 1962 Record Mirror stopped compiling its own chart and published Record Retailer's instead. Retailer began independent auditing in January 1963, has been used by the UK Singles Chart as the source for number-ones since the week ending 12 March 1960; the choice of Record Retailer as the source has been criticised. With available lists of which record shops were sampled to compile the charts some shops were subjected to "hyping" but, with Record Retailer being less followed than some charts, it was subject to less hyping. Additionally, Retailer was set up by independent record shops and had no funding or affiliation with record companies. However, it had a smaller sample size than some ri
A music video is a short film that integrates a song with imagery, is produced for promotional or artistic purposes. Modern music videos are made and used as a marketing device intended to promote the sale of music recordings. There are cases where songs are used in tie-in marketing campaigns that allow them to become more than just a song. Tie-ins and merchandising can be used for food or other products. Although the origins of the music video date back to musical short films that first appeared in the 1920s, they again came into prominence in the 1980s when the channel MTV based their format around the medium. Prior to the 1980s, these kinds of videos were described by various terms including "illustrated song", "filmed insert", "promotional film", "promotional clip", "promotional video", "song video", "song clip" or "film clip". Music videos use a wide range of styles and contemporary video-making techniques, including animation, live action and non-narrative approaches such as abstract film.
Some music videos combine different styles with the music, such as animation and live action. Combining these styles and techniques has become more popular because of the variety for the audience. Many music videos interpret images and scenes from the song's lyrics, while others take a more thematic approach. Other music videos may not have any concept, being a filmed version of the song's live concert performance. In 1894, sheet music publishers Edward B. Marks Joe Stern hired electrician George Thomas and various performers to promote sales of their song "The Little Lost Child". Using a magic lantern, Thomas projected a series of still images on a screen simultaneous to live performances; this would become a popular form of entertainment known as the illustrated song, the first step toward music video. In 1926, with the arrival of "talkies" many musical short films were produced. Vitaphone shorts featured many bands and dancers. Animation artist Max Fleischer introduced a series of sing-along short cartoons called Screen Songs, which invited audiences to sing along to popular songs by "following the bouncing ball", similar to a modern karaoke machine.
Early 1930s cartoons featured popular musicians performing their hit songs on-camera in live-action segments during the cartoons. The early animated films by Walt Disney, such as the Silly Symphonies shorts and Fantasia, which featured several interpretations of classical pieces, were built around music; the Warner Bros. cartoons today billed as Looney Tunes and Merrie Melodies, were fashioned around specific songs from upcoming Warner Bros. musical films. Live action musical shorts, featuring such popular performers as Cab Calloway, were distributed to theaters. Blues singer Bessie Smith appeared in a two-reel short film called St. Louis Blues featuring a dramatized performance of the hit song. Numerous other musicians appeared in short musical subjects during this period. Soundies and released from 1940 to 1947, were musical films that included short dance sequences, similar to music videos. In the mid-1940s, musician Louis Jordan made short films for his songs, some of which were spliced together into a feature film, Lookout Sister.
These films were, according to music historian Donald Clarke, the "ancestors" of music video. Musical films were another important precursor to music video, several well-known music videos have imitated the style of classic Hollywood musicals from the 1930s to the 1950s. One of the best-known examples is Madonna's 1985 video for "Material Girl", modelled on Jack Cole's staging of "Diamonds Are A Girl's Best Friend" from the film Gentlemen Prefer Blondes. Several of Michael Jackson's videos show the unmistakable influence of the dance sequences in classic Hollywood musicals, including the landmark "Thriller" and the Martin Scorsese-directed "Bad", influenced by the stylised dance "fights" in the film version of West Side Story. According to the Internet Accuracy Project, disc jockey–singer J. P. "The Big Bopper" Richardson was the first to coin the phrase "music video", in 1959. In his autobiography, Tony Bennett claims to have created "...the first music video" when he was filmed walking along the Serpentine in Hyde Park, London in 1956, with the resulting clip being set to his recording of the song "Stranger in Paradise".
The clip was sent to UK and US television stations and aired on shows including Dick Clark's American Bandstand. The oldest example of a promotional music video with similarities to more abstract, modern videos seems to be the Czech "Dáme si do bytu" created in 1958 and directed by Ladislav Rychman. In the late 1950s the Scopitone, a visual jukebox, was invented in France and short films were produced by many French artists, such as Serge Gainsbourg, Françoise Hardy, Jacques Dutronc, the Belgian Jacques Brel to accompany their songs, its use spread to other countries, similar machines such as the Cinebox in Italy and Color-Sonic in the USA were patented. In 1961, for the Canadian show Singalong Jubilee, Manny Pittson began pre-recording the music audio, went on-location and taped various visuals with the musicians lip-synching edited the audio and video together. Most music numbers were taped in-studio on stage, the location shoot "videos" were to add variety. In 1964, Kenneth Anger's experimental short film, Scorpio Rising used popular songs instead of dialog.
In 1964, The Moody Blues producer, Alex Murray, wanted to promote his version of "Go Now". The short film clip he produced and directed to promote the single has a striking visual style that predates Queen's similar "Bohemian Rhapsody" vid
The Police were a British rock band formed in London in 1977. For most of their history the band consisted of Andy Summers and Stewart Copeland; the Police became globally popular in the late 1970s and early 1980s and are regarded as one of the first new-wave groups to achieve mainstream success, playing a style of rock influenced by punk and jazz. They are considered one of the leaders of the Second British Invasion of the U. S, they disbanded in 1986, but reunited in early 2007 for a one-off world tour that ended in August 2008. Their 1978 debut album, Outlandos d'Amour, reached No. 6 in the UK Albums Chart. Their second album Reggatta de Blanc, became the first of four consecutive UK No. 1 albums with its lead single, "Message in a Bottle", their first UK number one. Their next two albums, Zenyatta Mondatta and Ghost in the Machine, saw further critical and commercial success, their final studio album, was No. 1 in both the UK and the US, selling over 8 million copies in the US alone. "Every Breath You Take" became their fifth UK number one single, first in the US.
The Police have sold over 75 million records, making them one of the world's best-selling artists of all time. They were the world's highest-earning musicians in 2008, due to their reunion tour; the band has won a number of music awards, including six Grammy Awards, two Brit Awards—winning Best British Group once, an MTV Video Music Award, in 2003 were inducted into the Rock and Roll Hall of Fame. Four of their five studio albums appeared on Rolling Stone's list of the 500 Greatest Albums of All Time; the Police were included among both Rolling Stone's and VH1's lists of the 100 Greatest Artists of All Time. In late November 1976, while on tour in Newcastle upon Tyne in northeast England with the British progressive rock band Curved Air, the band's American drummer Stewart Copeland met and exchanged phone numbers with an ambitious singer-bassist called Sting, who at the time was playing in a jazz-rock fusion band called Last Exit. On 12 January 1977, Sting relocated to London. Curved Air had split up and Copeland, inspired by the contemporary punk rock movement, was eager to form a new band and join the burgeoning London punk scene.
While less keen, Sting acknowledged the commercial opportunities, so the duo formed the Police as trio with Corsican guitarist Henry Padovani recruited as the third member. After their debut concert on 1 March 1977 at Alexander's in Newport, the group played London pubs and toured as a support act for Cherry Vanilla and for Wayne County & the Electric Chairs, their first single "Fall Out," recorded at Pathway Studios in Islington, North London on 12 February 1977 with a budget of £150, was released in May 1977 by Illegal Records. In May 1977, former Gong musician Mike Howlett invited Sting to join him in the band project Strontium 90; the drummer Howlett had in mind, Chris Cutler, was unavailable. The band's fourth member was guitarist Andy Summers from Lancashire in northwest England. A decade older than Sting and Copeland, Summers was a music industry veteran who had played with Eric Burdon and the Animals and Kevin Ayers among others. Strontium 90 performed at a Gong reunion concert in Paris on 28 May 1977, played at a London club in July.
The band recorded several demo tracks: these were released 20 years on the archive album Strontium 90: Police Academy. Summers' musicality impressed Sting, becoming frustrated with Padovani's rudimentary abilities and the limitations they imposed on the Police's potential. Shortly after the Strontium 90 gig, Sting approached Summers to join the band, he agreed, with him replacing Padovani. Restrained by loyalty and Sting resisted the idea, the Police carried on as a four-piece version but they only performed live twice: on 25 July 1977 at the Music Machine in London and on 5 August at the Mont de Marsan Punk Festival. Shortly after these two gigs, Summers delivered an ultimatum and Padovani was dismissed from the band; the effect of Summers' arrival was instant with Copeland stating: "One by one, Sting's songs had started coming in, when Andy joined, it opened up new numbers of Sting's we could do, so the material started to get a lot more interesting and Sting started to take a lot more interest in the group."
The Police's power trio line-up of Copeland and Summers performed for the first time on 18 August 1977 at Rebecca's club in the English city of Birmingham in the West Midlands. A trio was unusual for the time, this line-up endured for the rest of the band's history. Few punk bands were three-pieces, while contemporary bands pursuing progressive rock, symphonic rock and other sound trends expanded their line-ups with support players; the musical background of all three players may have made them suspect to punk purists, with music critic Christopher Gable stating, "The truth is that the band utilized the trappings of 1970s British punk: the bleached blond short hair, Sting in his jumpsuits or army jackets and his near maniacal drumming style. In fact, they were criticized by other punk bands for not being authentic and lacking'street cred'. What the Police did take from punk was a br
Clark Wynford Datchler is an English singer, songwriter and record producer. He first rose to fame in 1987 as the lead singer and multi-instrumentalist in the band Johnny Hates Jazz. Clark Datchler's father was Fred Datchler, a singer and saxophonist in two popular vocal groups of the 1950s, The Polkadots and The Stargazers, he sang backing vocals for The Beatles and Frank Sinatra. Fred encouraged his son to learn to play piano and flute from the age of 7 years old. Datchler attended Downsend School, Ashtead and St John's School, Leatherhead where he started many bands, he released his first single when he was 17, "You Fooled Him Once Again", on the London soul label Bluebird. The record featured Julie Roberts of Working Week, two members of the reggae band Aswad: drummer Angus "Drummie Zeb" Gaye, bassist George "Ras Levi" Oban; the single was not a success. Shortly after, he signed a music publishing deal with Warner Bros. Records, moved to LA when he was 18 to write for other artists; the following year he joined the band Hot Club, signed to RAK Records.
His fellow band members were Calvin Hayes, Glenn Matlock of the Sex Pistols, guitarist James Stevenson of Chelsea and Generation X. They released one single, he subsequently released the singles "I Don’t Want You" and "Things Can’t Get Any Worse", both produced by Mickie Most. However, success continued to elude him. Datchler became a member of Johnny Hates Jazz alongside production team Calvin Hayes and Mike Nocito in 1986; the band released "Me and My Foolish Heart", on RAK Records in that year. The single did not achieve success; however soon, as Clark began to write the songs for the band, a showcase was held at Ronnie Scott's Jazz Club where the group performed in front of several record labels. They signed with Virgin Records, Datchler's best-known song, "Shattered Dreams", was released in spring 1987; the single was a success worldwide, reaching #5 in the UK. It reached #2 in Japan and the US. Several international hits followed, including the anti-war anthem "I Don't Want to Be a Hero" and "Turn Back the Clock".
The band's debut album, Turn Back the Clock, was released in January 1988 and reached #1 in the UK, going double platinum. Datchler wrote most of the songs including all of the band's hits. Along with being signed to Virgin Records, Datchler signed a music publishing agreement with Virgin Music Publishing. Datchler left Johnny Hates Jazz in 1988 at the height of his fame, he began work on a solo album called Raindance. The album featured some renowned musicians, including bass player Nathan East, drummer John "JR" Robinson and percussionist Paulinho Da Costa. Featured was guitarist Dave Gregory of XTC; the album saw Datchler’s first environmental song, "Raindance" – one of several to follow. The first single from Raindance was “Crown Of Thorns”, it was not a success. The Raindance album was released on Virgin Records in Japan shortly afterwards. In 1991, Datchler went back into the studio to record some tracks with Rupert Hine, producer of Tina Turner, The Fixx and Howard Jones; the new album was titled Fishing for Souls.
However, when the relationship between Virgin Records and Datchler deteriorated further, he left the label. Fishing for Souls was not released by Virgin, but was made available as a bootleg. In 2009, Datchler acquired the rights to the album, it was remixed by Stephen W Tayler, digitally remastered and in 2010 it was released on Datchler's own label, Interaction Music. In the mid 1990s, Datchler moved back to Britain where he based himself at Peter Gabriel's Real World Studios outside the city of Bath. There, he taught himself to play the bouzouki and percussion, refined his abilities as a pianist, keyboard player and guitarist, he began to experiment with combining world and folk instruments with contemporary instruments and modern grooves. The recordings he made at Real World led to the beginning of the writing and recording of the album Tomorrow. At the same time, Datchler studied the philosophy of indigenous peoples, he became a Green Party member, focused his songwriting skills on social issues that concerned him.
In 1998, Datchler signed a music publishing deal with BMG Music. In the 2000s, Datchler based himself in the USA, he decided to make an album with an environmental theme, began work Tomorrow. He played many of the instruments on the album as well as producing and mixing, he invited several notable musicians to record with him, including Phil Gould, David Rhodes, James McNally, Hugh Marsh, Phil Beer and Joji Hirota. He recorded much of the 12-track album in a state-of-the-art studio powered by solar energy. One of the songs was a new recording of his first hit with Johnny Hates Jazz, "Shattered Dreams." The completed version of Tomorrow was released on InterAction Music in May 2007. This album was released under the pseudonym of Nightfoxx, but Datchler subsequently returned to recording and performing under his original name. In 2009 it was remixed by Stephen W Tayler, digitally re-released. Datchler signed a music publishing deal with Stage Three Music, part of BMG Rights Management. Datchler rejoined Johnny Hates Jazz in late 2009, in 201