EMI Group Limited was a British Transnational conglomerate founded in March 1931 in London. At the time of its break-up in 2012, it was the fourth largest business group and record label conglomerate in the music industry, was one of the big four record companies; the company was once a constituent of the FTSE 100 Index, but faced financial troubles and US$4 billion in debt, leading to its acquisition by Citigroup in February 2011. Citigroup's ownership was temporary, as EMI announced in November 2011 that it would sell its music arm to Vivendi's Universal Music Group for $1.9 billion and its publishing business to a Sony/ATV consortium for around $2.2 billion. Other members of the Sony consortium include the Estate of Michael Jackson, The Blackstone Group, the Abu Dhabi–owned Mubadala Development Company. EMI's locations in the United Kingdom, the United States, Canada were all disassembled to repay debt, but the primary head office located outside those countries is still functional, it is owned by Sony/ATV Music Publishing, the music publishing division of Sony Music which bought another 70% stake in EMI Music Publishing.
Electric and Musical Industries Ltd was formed in March 1931 by the merger of the Columbia Graphophone Company and the Gramophone Company, with its "His Master's Voice" record label, firms that have a history extending back to the origins of recorded sound. The new vertically integrated company produced sound recordings as well as recording and playback equipment; the company's gramophone manufacturing led to forty years of success with larger-scale electronics and electrical engineering. In 1934, the company developed the electronic Marconi-EMI system for television broadcasting, which replaced Baird's electro-mechanical system following its introduction in 1936. After the war, the company resumed its involvement in making broadcasting equipment, notably providing the BBC's second television transmitter at Sutton Coldfield, it manufactured broadcast television cameras for British television production companies as well as for the BBC. The commercial television ITV companies used them alongside cameras made by Pye and Marconi.
Their best-remembered piece of broadcast television equipment was the EMI 2001 colour television camera, which became the mainstay of much of the British television industry from the end of the 1960s until the early 1990s. Exports of this piece of equipment were low, EMI left this area of product manufacture. Alan Blumlein, an engineer employed by EMI, conducted a great deal of pioneering research into stereo sound recording many years prior to the practical implementation of the technique in the early 1950s, he was killed in 1942 whilst conducting flight trials on an experimental H2S radar set. During and after World War II, the EMI Laboratories in Hayes, Hillingdon developed radar equipment, microwave devices such as the reflex klystron oscillator, electro-optic devices such as infra-red image converters, guided missiles employing analogue computers; the company was for many years an internationally respected manufacturer of photomultipliers. This part of the business was transferred to Thorn as part of Thorn-EMI later became the independent concern Electron Tubes Ltd.
The EMI Electronic Business Machine, a valve and magnetic drum memory computer, was built in the 1950s to process the British Motor Corporation payroll. In 1958 the EMIDEC 1100, the UK's first commercially available all-transistor computer, was developed at Hayes under the leadership of Godfrey Hounsfield, an electrical engineer at EMI. In the early 1970s, with financial support by the UK Department of Health and Social Security as well as EMI research investment, Hounsfield developed the first CT scanner, a device which revolutionised medical imaging. In 1973 EMI was awarded a prestigious Queen's Award for Technological Innovation for what was called the EMI scanner, in 1979 Hounsfield won the Nobel Prize for his accomplishment. After brief, but brilliant, success in the medical imaging field, EMI's manufacturing activities were sold off to other companies, notably Thorn. Subsequently and manufacturing activities were sold off to other companies and work moved to other towns such as Crawley and Wells.
Emihus Electronics, based in Glenrothes, was owned 51% by Hughes Aircraft, of California, US, 49% by EMI. It manufactured integrated circuits electrolytic capacitors and, for a short period in the mid-1970s, hand-held calculators under the Gemini name. Early in its life, the Gramophone Company established subsidiary operations in a number of other countries in the British Commonwealth, including India and New Zealand. Gramophone's Australian and New Zealand subsidiaries dominated the popular music industries in those countries from the 1920s until the 1960s, when other locally owned labels began to challenge the near monopoly of EMI. Over 150,000 78-rpm recordings from around the world are held in EMI's temperature-controlled archive in Hayes, some of which have been released on CD since 2008 by Honest Jon's Records. In 1931, the year the company was formed, it opened the legendary recording studios at Abbey Road, London. During the 1930s and 1940s, its roster of artists included Arturo
Techno is a form of electronic dance music that emerged in Detroit, Michigan, in the United States during the mid-to-late 1980s. The first recorded use of the word techno in reference to a specific genre of music was in 1988. Many styles of techno now exist, but Detroit techno is seen as the foundation upon which a number of sub-genres have been built. In Detroit, techno resulted from the melding of black styles including Chicago house, funk and electric jazz with electronic music by artists such as Kraftwerk, Giorgio Moroder, Yellow Magic Orchestra. Added to this is the influence of futuristic and fictional themes relevant to life in American late capitalist society, with Alvin Toffler's book The Third Wave being a notable point of reference. Pioneering producer and DJ Juan Atkins cites Toffler's phrase "techno rebels" as inspiring him to use the word techno to describe the musical style he helped to create; this unique blend of influences aligns techno with the aesthetic referred to as afrofuturism.
To producers such as Derrick May, the transference of spirit from the body to the machine is a central preoccupation. In this manner: "techno dance music defeats what Adorno saw as the alienating effect of mechanisation on the modern consciousness". Stylistically, techno is repetitive instrumental music produced for use in a continuous DJ set; the central rhythmic component is most in common time, where time is marked with a bass drum on each quarter note pulse, a backbeat played by snare or clap on the second and fourth pulses of the bar, an open hi-hat sounding every second eighth note. The tempo tends to vary between 120 to 150 beats per minute, depending on the style of techno; the creative use of music production technology, such as drum machines and digital audio workstations, is viewed as an important aspect of the music's aesthetic. Many producers use retro electronic musical devices to create what they consider to be an authentic techno sound. Drum machines from the 1980s such as Roland's TR-808 and TR-909 are prized, software emulations of such retro technology are popular among techno producers.
Music journalists and fans of techno are selective in their use of the term. The initial blueprint for techno developed during the mid-1980s in Belleville, Michigan, a suburb of Detroit by Juan Atkins, Kevin Saunderson and Derrick May, all of whom attended school together at Belleville High, with the addition of Eddie Fowlkes, Blake Baxter and James Pennington. By the close of the 1980s, the pioneers had recorded and released material under various guises: Atkins as Model 500, Magic Juan. There were a number of joint ventures, including Kevin Saunderson's group Inner City, which saw collaborations with Atkins, vocalist Paris Grey, fellow DJs James Pennington and; the Electrifying Mojo was the first radio DJ to play music by Atkins and Saunderson. Mojo refused to follow pre-established radio formats or playlists, he promoted social and cultural awareness of the African American community. In exploring techno's origins writer Kodwo Eshun maintains that "Kraftwerk are to Techno what Muddy Waters is to the Rolling Stones: the authentic, the origin, the real."
Juan Atkins has acknowledged that he had an early enthusiasm for Kraftwerk and Giorgio Moroder Moroder's work with Donna Summer and the producer's own album E=MC2. Atkins mentions that "around 1980 I had a tape of nothing but Kraftwerk, Devo, Giorgio Moroder and Gary Numan, I'd ride around in my car playing it." Atkins has claimed he was unaware of Kraftwerk's music prior to his collaboration with Richard "3070" Davis as Cybotron, two years after he had first started experimenting with electronic instruments. Regarding his initial impression of Kraftwerk, Atkins notes that they were "clean and precise" relative to the "weird UFO sounds" featured in his "psychedelic" music. Derrick May identified the influence of Kraftwerk and other European synthesizer music in commenting that "it was just classy and clean, to us it was beautiful, like outer space. Living around Detroit, there was so little beauty... everything is an ugly mess in Detroit, so we were attracted to this music. It, ignited our imagination!".
May has commented that he considered his music a direct continuation of the European synthesizer tradition. He identified Japanese synthpop act Yellow Magic Orchestra member Ryuichi Sakamoto, British band Ultravox, as influences, along with Kraftwerk. YMO's song "Technopolis", a tribute to Tokyo as an electronic mecca, is considered an "interesting contribution" to the development of Detroit techno, foreshadowing concepts that Atkins and Davis would explore with Cybotron. Kevin Saunderson has acknowledged the influence of Europe but he claims to have been more inspired by the idea of making music with electronic equipment: "I was more infatuated with the idea that I can do this all myself." Prior to achieving notoriety, Saunderson and Fowlkes shared common interests as budding musicians, "mix" tape traders, aspiring DJs. They found musical inspiration via the Midnight Funk Association, an eclectic five-hour late-night radio program hosted on various Detroit radio stations, including WCHB, WGPR, WJLB-FM from 1977 through the mid-1980s by DJ Charles "The Electrifying Mojo" Johnson.
Tango is a style of music in 24 or 44 time that originated among European immigrant populations of Argentina and Uruguay. It is traditionally played on a solo guitar, guitar duo, or an ensemble, known as the orquesta típica, which includes at least two violins, piano, double bass, at least two bandoneóns. Sometimes guitars and a clarinet join the ensemble. Tango may include a vocalist. Tango music and dance have become popular throughout the world. Though present forms developed in Argentina and Uruguay from the mid 19th century, there are records of 19th and early 20th century Tango styles in Cuba and Spain, while there is a flamenco Tangos dance that may share a common ancestor in a minuet-style European dance. All sources stress the influence of the African communities and their rhythms, while the instruments and techniques brought in by European immigrants in the 20th century played a major role in its final definition, relating it to the Salon music styles to which Tango would contribute back at a stage.
Angel Villoldo's 1903 tango El Choclo was first recorded no than 1906 in Philadelphia. Villoldo himself recorded it in Paris. Villoldo had to record in Paris. Early tango was played by immigrants in Buenos Aires later in Montevideo; the first generation of tango players was called "Guardia Vieja". It took time to move into wider circles: in the early 20th century it was the favorite music of thugs and gangsters who visited the brothels, in a city with 100,000 more men than women; the complex dances that arose from such rich music reflects how the men would practice the dance in groups, demonstrating male sexuality and causing a blending of emotion and aggressiveness. The music was played on portable instruments: flute and violin trios, with bandoneón arriving at the end of the 19th century; the organito, a portable player-organ, broadened the popularity of certain songs. Eduardo Arolas was the major instrument of the bandoneón's popularization, with Vicente Greco soon standardizing the tango sextet as consisting of piano, double bass, two violins and two bandoneóns.
Like many forms of popular music, tango was associated with the underclass, attempts were made to restrict its influence. In spite of the scorn, like writer Ricardo Güiraldes, were fans. Güiraldes played a part in the international popularization of tango, which had conquered the world by the end of World War I, wrote a poem which describes the music as the "all-absorbing love of a tyrant, jealously guarding his dominion, over women who have surrendered submissively, like obedient beasts". One song that would become the most known of all tango melodies dates from this time; the first two sections of La Cumparsita were composed as a march instrumental in 1916 by teen-aged Gerardo Matos Rodríguez of Uruguay. Besides the global influences mentioned above, early Tango was locally influenced by Payada, the Milonga from Argentine and Uruguay Pampas, Uruguayan Candombe. In Argentina there was Milonga "from the country" since the mid eighteenth century; the first "payador" remembered is Santos Vega. The origins of Milonga seem to be in the Pampa with strong African influences though the local Candombe.
It is believed that this candombe existed and was practised in Argentina since the first slaves were brought into the country. Although the word "tango" to describe a music/dance style had been printed as early as 1823 in Havana, the first Argentinian written reference is from an 1866 newspaper, that quotes the song "La Coqueta". In 1876 a tango-candombe called "El Merenguengué" became popular, after its success in the Afro-Argentines carnival held in February of that year, it is played with harp and flute in addition to the Afro-Argentine Candombe drums. This has been considered as one of the strong points of departure for the birth and development of Tango; the first "group" of tango, was composed of two Afro-Argentines, "the black" Casimiro Alcorta and "the mulatto" Sinforoso. They did small concerts in Buenos Aires since the early 1870s until the early 1890s. "The black Casimiro" is author of "Entrada Prohibida" signed by the brothers Teisseire, "la yapa". It must be said, though that this duo was the author and performer of many of the early tangos now listed as "anonymous", since at that time were not used to signing works.
Before the 1900s, the following tangos were being played: "El queco", "Señora casera", "Andate a la recoleta", "El Porteñito", "Tango Nº1", "Dame la lata", "Que polvo con tanto viento", "No me tires con la tapa de la olla", "El Talar". One of the first women to write tango scores was Eloísa D’Herbil, she wrote such pieces as Y a mí qué, Che no calotiés! and others, between 1872 and 1885. The first is in the Museum of the City Score Rosario. On the other hand, the first copyrighted tango score is "El entrerriano", released in 1896 and printed in 1898 – by Rosendo Mendizabal, an Afro-Argentine; as for the transiti
Arabic music is the music of the Arab World with all its different music styles and genres. Arabic countries have many styles of music and many dialects. Arabic music has a long history of interaction with genres, it represents the music of all the peoples that make up the Arab world all the 22 states. Pre-Islamic Arabian Peninsula music was similar to that of Ancient Middle Eastern music. Most historians agree that there existed distinct forms of music in the Arabian peninsula in the pre-Islamic period between the 5th and 7th century AD. Arab poets of that time—called shu`ara' al-Jahiliyah or "Jahili poets", meaning "the poets of the period of ignorance"—used to recite poems with a high notes, it was believed. The choir at the time served as a pedagogic facility where the educated poets would recite their poems. Singing was not thought to be the work of these intellectuals and was instead entrusted to women with beautiful voices who would learn how to play some instruments used at that time such as the drum, the guitar or the rebab, perform the songs while respecting the poetic metre.
The compositions were simple and every singer would sing in a single maqam. Among the notable songs of the period were the huda, the nasb and rukbani. Both compositions and improvisations in traditional Arabic music are based on the maqam system. Maqams can be realized with either vocal or instrumental music, do not include a rhythmic component. Al-Kindi was a notable early theorist of Arabic music, he joined several others like al-Farabi in proposing the addition of a makeshift fifth string to the oud. He published several tracts including the cosmological connotations of music, he identified twelve tones on the Arabic musical scale, based on the location of fingers on and the strings of the oud. Abulfaraj wrote the Kitab al-Aghani, an encyclopedic collection of poems and songs that runs to over 20 volumes in modern editions. Al-Farabi wrote a notable book on music titled Kitab al-Musiqi al-Kabir, his pure Arabian tone system is still used in Arabic music. Al-Ghazali wrote a treatise on music in Persia which declared, "Ecstasy means the state that comes from listening to music".
In 1252, Safi al-Din developed a unique form of musical notation, where rhythms were represented by geometric representation. A similar geometric representation would not appear in the Western world until 1987, when Kjell Gustafson published a method to represent a rhythm as a two-dimensional graph. By the 11th century, Islamic Iberia had become a center for the manufacture of instruments; these goods spread throughout France, influencing French troubadours, reaching the rest of Europe. The English words lute and naker are derived from Arabic oud and naqareh. Bartol Gyurgieuvits spent 13 years as a slave in the Ottoman empire. After escaping, he published De Turvarum ritu et caermoniis in Amsterdam in 1544, it is one of the first European books to describe music in Islamic society. The origins of the "belly dance" are obscure, as depictions and descriptions are rare, it may have originated in pre-Islamic Arabia. Examples have been found from 200 BCE, suggesting a possible pre-Islamic origin. In the early 20th century, Egypt was the first in a series of Arab countries to experience a sudden emergence of nationalism, as it became independent after 2000 years of foreign rule.
Any English, French or Turkish songs got replaced by national Egyptian music. Cairo became a center for musical innovation. Female singers were some of the first to take a secular approach. Egyptian performer Umm Kulthum and Lebanese singer Fairuz were notable examples of this. Both have been popular through the decades that followed and both are considered legends of Arabic music. Across the Mediterranean, Moroccan singer Zohra Al Fassiya was the first female performer to achieve wide popularity in the Maghreb region, performing traditional Arab Andalusian folk songs and recording numerous albums of her own. During the 1950s and 1960s, Arabic music began to take on a more Western tone – Egyptian artists Umm Kulthum and Abdel Halim Hafez along with composers Mohammed Abdel Wahab and Baligh Hamdi pioneered the use of western instruments in Egyptian music. By the 1970s several other singers had followed suit and a strand of Arabic pop was born. Arabic pop consists of Western styled songs with Arabic instruments and lyrics.
Melodies are a mix between Eastern and Western. Beginning in the mid-1980s, Lydia Canaan, musical pioneer regarded as the first rock star of the Middle East fused English lyrics and Western sound with Middle-Eastern quarter tones and microtones and became the first internationally successful Lebanese recording artist. Western pop music was being influenced by Arabic music in the early 1960s, leading to the development of surf music, a rock music genre that gave rise to garage rock and punk rock. Surf rock pioneer Dick Dale, a Lebanese American guitarist, was influenced by the Arabic music he learnt from his uncle the oud and derbakki drum, skills which he applied to his electric guitar playing when recording surf rock in the early 1960s. In the 1990s, several artists have taken up such a style including Amr Diab, Najwa Karam, Nawal Al Zoghbi, Nancy Ajram, Haifa Wehbe, Fadl Shaker, Majida Al Roumi, Wael Kfoury, Asalah Nasri, Myriam Fares, Carole Samaha, Samira Said, Hisham Abbas, Kadhem Al Saher, Mostafa Amar, Ehab Tawfik, Moham
Mohammed Abdel Wahab
Mohammed Abd el-Wahhab transliterated Mohamed Abdel Wahab was a prominent 20th-century Egyptian singer and composer. He's best known for Egyptian patriotic songs, he composed "Ya Beladi" the National anthem of Libya used by the Kingdom of Libya from 1951 to 1969 and again by the post-Gaddafi transitional government in 2011. He composed the national anthem of Tunisia, "Humat al-Hima" as well as the United Arab Emirates national anthem "Ishy Bilady" and many Egyptian nationalist songs like "Ya Masr tam El-Hanna", "Hay Ala El-Falah", "Masr Nadetna falbena El-nedaa", "Oulo le Masr", "Hob El-watan Fard Alyi", "Sout El-Gamaheer", "Ya Nessmet El-Horria", "Sawae'd men Beladi". Mohammed'Abd al-Wahhab was born in 1902 in Cairo, Egypt, in a neighborhood called Bab El-Sheriyah, where there is now a statue of him, he began his singing career at an early age and made his first public performances at age seven at local productions. He was 13. Mohammed'Abd al-Wahhab was a close friend to compatriot singer Abdel Halim Hafez.
In 1933'Abd al-Wahhab began composing his own style of Egyptian film musical after visiting Paris and familiarizing himself with French musical film. He introduced a lighthearted genre of musical film to Egyptian culture composing eight musical comedies between 1933 and 1949, his films portrayed Western social elite and included music that veered off from the traditional Egyptian tune. He starred in his 1934 film The White Flower which broke records in attendance and still plays in Egyptian theaters. In 1950'Abd al-Wahhab left film to focus on being a more profound singer.'Abd el-Wahhab composed more than 1820 songs.'Abd al-Wahhab is considered to be one of the most innovative Egyptian musicians of all time, laying the foundation for a new era of Egyptian music with his use of non-local rhythms and refined oud playing. Despite the fact that'Abd el-Wahhab composed many songs and musical pieces of classical Arabic music, he was always criticized for his orientation to Western music. In fact, he introduced Western rhythms to Egyptian songs in a way appropriate to the known very classical forms of Egypt songs.
For example, in 1941, he introduced a waltz rhythm in his song "El Gandol," and, in 1957, he introduced a rock and roll rhythm in Abdel Halim Hafez's song "Ya Albi Ya Khali". He composed some of the best hits of Nagat El Saghira including four poems by Nizar Qabbani.'Abd el-Wahhab played oud before the prominent Egyptian poet, Ahmed Shawqi, acted in several movies. He composed ten songs for Umm Kulthum, he was the first Egyptian singer to move from silent-era acting to singing. Mohammed'Abd el-Wahhab died in his hometown Cairo, Egypt of heart failure on May 4, 1991.'Abd el-Wahhab was fundamental in establishing a new Era of Egyptian music in his homeland and across the Arab world. He left a mark on the Western world by exposing Egyptian music to Western classical and popular traditions, he composed The Libyan anthem. As actor The White Rose Doumou' el Hub Yahya el Hub Yawm Sa'id Mamnou'a el Hub Rossassa Fel Qalb Lastu mallakan Ghazal Al Banat Mohammed Abdel Wahab on IMDb BiographySelected Mohammed'Abd al-Wahhab compositions from YouTube Web site: Hayati on YouTube Hadiyat Al Eid on YouTube Al Khayyam on YouTube National Anthem of the Kingdom of Libya on YouTube
Disco is a music genre and subculture that emerged in the 1970s from the United States' urban nightlife scene. The music, the fashion, many song lyrics and other cultural phenomena associated with disco were focused on having a good time on the dance floor of a discotheque to the loud sounds of records being played by a DJ enhanced by coloured lighting effects. Disco started as a mixture of music from venues popular with African Americans and Latino Americans, Italian Americans, LGBT people, psychedelic hippies in Philadelphia and New York City during the late 1960s and early 1970s. Disco can be seen as a reaction to both the dominance of rock music and the stigmatization of dance music by the counterculture during this period. Several dance styles were developed during the period of disco's popularity in the United States, including the Bump and the Hustle; the disco sound is typified by "four-on-the-floor" beats, syncopated basslines, string sections, electric piano and electric rhythm guitars.
Lead guitar features less in disco than in rock. Well-known disco artists include Donna Summer, Gloria Gaynor, the Bee Gees, Chic, KC and the Sunshine Band, Thelma Houston and the Village People. While performers and singers garnered public attention, record producers working behind the scenes played an important role in developing the genre. Films such as Saturday Night Fever and Thank God It's Friday contributed to disco's mainstream popularity. By the late 1970s, most major U. S. cities had thriving disco club scenes, DJs would mix dance records at clubs such as Studio 54 in New York City, a venue popular among celebrities. Discothèque-goers wore expensive and sexy fashions. There was a thriving drug subculture in the disco scene for drugs that would enhance the experience of dancing to the loud music and the flashing lights, such as cocaine and Quaaludes, the latter being so common in disco subculture that they were nicknamed "disco biscuits". Disco clubs were associated with promiscuity as a reflection of the sexual revolution of this era in popular history.
Disco was the last popular music movement driven by the baby boom generation. It began to decline in the United States during 1979-80, by 1982 it had lost nearly all popularity there. Disco Demolition Night, an anti-disco protest held in Chicago on July 12, 1979, remains the most well-known of several "backlash" incidents across the country that symbolized disco's declining fortune. Disco was a key influence in the development of electronic dance house music, it has had several revivals, such as Madonna's successful 2005 album Confessions on a Dance Floor, again in the 2010s, entering the pop charts in the US and the UK. The term "disco" is shorthand for the word discothèque, a French word for "library of phonograph records" derived from "bibliothèque"; the word "discothèque" was current in the same meaning in English in the 1950s."Discothèque" became in use in French as a term for a type of nightclubs in Paris after these had resorted to playing records during the Nazi occupation in the early 1940s.
Some clubs used it as their proper name. In 1960 it was used to describe a Parisian nightclub in an English magazine. In the summer of 1964 a short sleeveless dress called "discotheque dress" was popular in the United States for a short time; the earliest known use for the abbreviated form "disco" described this dress and has been found in the Salt Lake Tribune of 12 July 1964, but Playboy magazine used it soon after to describe Los Angeles nightclubs in September of the same year. Vince Aletti was one of the first to describe disco as a music genre, he wrote the feature article "Discoteque Rock Paaaaarty" that appeared in Rolling Stone magazine in September 1973. The music layered soaring, often-reverberated vocals doubled by horns, over a background "pad" of electric pianos and "chicken-scratch" rhythm guitars played on an electric guitar. "The'chicken scratch' sound is achieved by pressing the strings against the fretboard and quickly releasing them just enough to get a muted scratching while strumming close to the bridge."
Other backing keyboard instruments include the piano, electric organ, string synth, electromechanical keyboards such as the Fender Rhodes electric piano, Wurlitzer electric piano, Hohner Clavinet. Synthesizers are fairly common in disco in the late 1970s; the rhythm is laid down by prominent, syncopated basslines played on the bass guitar and by drummers using a drum kit, African/Latin percussion, electronic drums such as Simmons and Roland drum modules. The sound was enriched with solo lines and harmony parts played by a variety of orchestral instruments, such as harp, viola, trumpet, trombone, flugelhorn, French horn, English horn, flute, piccolo and synth strings, string section or a full string orchestra. Most disco songs have a steady four-on-the-floor beat, a quaver or semi-quaver hi-hat pattern with an open hi-hat on the off-beat, a heavy, syncopated bass line. Other Latin rhythms such as the rhumba, the samba and the cha-cha-cha are found in disco recordings, Latin polyrhythms, such as a rhumba beat layered over a merengue, are commonplace.
The quaver pattern is supported by other instruments such as the rhythm guitar and may be implied rather than explicitly present. Songs use syncopation, the accenting of unexpected beats. In general, the d
Christopher Henry Difford is an English singer, musician and record producer. He is a founding songwriter of the British group Squeeze. Born in Greenwich, Difford has written lyrics for over 40 years, most notably in partnership with Glenn Tilbrook; the two were primary members in Difford & Tilbrook. According to Difford, he stole 50p from his mother's purse to put a card in a local sweetshop window advertising for a guitarist to join his band, although he didn't have one at the time. Tilbrook was the only person who responded to the advert and they met for the first time shortly afterwards; some of their best-known songs are "Tempted", "Pulling Mussels", "Black Coffee in Bed", "Cool for Cats", "Up the Junction" and "Annie Get Your Gun". After the break-up of Squeeze in 1983 Difford continued writing songs for artists such as Jools Holland, Helen Shapiro, Billy Bremner and Elvis Costello, he has written lyrics for music by Jools Holland, Elton John, Wet Wet Wet, Marti Pellow and others. He was involved with Tilbrook and John Turner in the creation of a musical, Labelled with Love, created using the songs of Squeeze.
The 1983 musical performed in Deptford was short-lived. In 1984 the pair released the album Difford and Tilbrook and had a minor hit in the UK with Love's Crashing Waves which reached 57 in the UK charts. In 1985 Squeeze reunited, having hits in the US with Babylon and On, "Hourglass" and "853-5937". Difford left the group in 1999 launching a solo career in 2003 with his album I Didn't Get Where I Am. Difford was manager of Bryan Ferry and The Strypes. In March 2010, Difford curated Songs in the Key of London, an evening of music dedicated to the capital at the Barbican Centre, London. In 2017 Chris published his autobiography'Some Fantastic Place: My Life In and Out of Squeeze' Difford was raised in Greenwich, he lived in New York with their two children. He lived in Rye, with the mother of his two youngest children, he lives just outside Brighton, Sussex with his wife, whom he married in April 2013. I Didn't Get Where I Am, 2003 South East Side Story, 2007 The Last Temptation of Chris, 2008 Cashmere if You Can, 2011, Chris To… The Mill, 2017 Chris Difford official website