Standing on a Beach
Standing on a Beach is a singles compilation album released by English rock band the Cure in May 1986, marking a decade since the band's founding in 1976. The album's titles are both taken from the opening lyrics of the Cure's debut single, "Killing an Arab"; the "New Voice - New Mix" of "Boys Don't Cry" was not included on the album. The version of "A Forest" here is neither the album version, nor is it the 7" single edit; the album was critically acclaimed. Stephen Thomas Erlewine of AllMusic called it "one of the finest albums of the'80s"; the album was released in six formats: vinyl record, compact disc, audio cassette, laser disc, CD Video and VHD. The vinyl edition is a collection of all 13 of The Cure's commercially released singles up to that point in chronological order. "10:15 Saturday Night" was dropped though because it was only released in France. The CD edition features the same tracks as the vinyl edition, but includes an extra track from four of the band's albums; the four songs, although not released as singles, all had music videos made for them.
The cassette edition features the same tracks as the vinyl edition, but contains all of the band's B-sides that had not, to that point, received a long-play release. This excludes "10:15 Saturday Night" from the "Killing an Arab" single, released on the Three Imaginary Boys album, "Plastic Passion" from the "Boys Don't Cry" single, released on the Boys Don't Cry album, the five B-sides from the "Let's Go to Bed", "The Walk" and "The Love Cats" singles, which were released on the Japanese Whispers compilation album. However, the B-side "Mr. Pink Eyes" from the 12" version of "The Lovecats" was omitted from Japanese Whispers, so was included on this release; these releases were accompanied by a VHS and laserdisc release, a music video collection titled Staring at the Sea: The Images with the same setlist as the CD version of the album. All the B-sides on the cassette edition were later released on the first disc of the Join the Dots compilation in 2004; the album has been certified 2x platinum in the US.
Missing is the special "Lament" Flexipop single from 1982, as this was not a proper single, "I'm a Cult Hero" from 1979 because it was released under a different band name. The man featured on the album cover was not a member of the Cure, his name is John Button, was at the time a retired fisherman. He appeared in the music video for "Killing an Arab". According to the band's 2005 biography by Jeff Apter, when asked why he agreed to lend his face to the band's media, Button's answer was, "If I can help these youngsters break through, after all, why not?" He reportedly said that he would buy a player and listen to one of the band's songs "out of curiosity, just to see". Side A "Killing an Arab" – 2:22 "Boys Don't Cry" – 2:35 "Jumping Someone Else's Train" – 2:54 "A Forest" – 4:53 "Primary" – 3:33 "Charlotte Sometimes" – 4:13 "The Hanging Garden" – 4:21 Side B "Let's Go to Bed" – 3:33 "The Walk" – 3:28 "The Love Cats" – 3:38 "The Caterpillar" – 3:38 "In Between Days" – 2:56 "Close to Me" – 3:39 "Killing an Arab" – 2:22 "10:15 Saturday Night" – 3:37 "Boys Don't Cry" – 2:35 "Jumping Someone Else's Train" – 2:57 "A Forest" – 4:53 "Play for Today" – 3:42 "Primary" – 3:33 "Other Voices" – 4:26 "Charlotte Sometimes" – 4:13 "The Hanging Garden" – 4:21 "Let's Go to Bed" – 3:33 "The Walk" – 3:28 "The Love Cats" – 3:38 "The Caterpillar" – 3:38 "In Between Days" – 2:56 "Close to Me" – 3:39 "A Night Like This" – 4:11 "Killing an Arab" – 2:22 "Boys Don't Cry" – 2:35 "Jumping Someone Else's Train" – 2:54 "A Forest" – 4:53 "Primary" – 3:33 "Charlotte Sometimes" – 4:13 "The Hanging Garden" – 4:21 "Let's Go to Bed" – 3:33 "The Walk" – 3:28 "The Lovecats" – 3:38 "The Caterpillar" – 3:38 "In Between Days" – 2:56 "Close to Me" – 3:39 "I'm Cold" – 2:47 "Another Journey By Train" – 3:04 "Descent" (Smith, Gallup
A keyboard instrument is a musical instrument played using a keyboard, a row of levers which are pressed by the fingers. The most common of these are the piano and various electronic keyboards, including synthesizers and digital pianos. Other keyboard instruments include celestas, which are struck idiophones operated by a keyboard, carillons, which are housed in bell towers or belfries of churches or municipal buildings. Today, the term keyboard refers to keyboard-style synthesizers. Under the fingers of a sensitive performer, the keyboard may be used to control dynamics, shading and other elements of expression—depending on the design and inherent capabilities of the instrument. Another important use of the word keyboard is in historical musicology, where it means an instrument whose identity cannot be established. In the 18th century, the harpsichord, the clavichord, the early piano were in competition, the same piece might be played on more than one. Hence, in a phrase such as "Mozart excelled as a keyboard player," the word keyboard is all-inclusive.
The earliest known keyboard instrument was the Ancient Greek hydraulis, a type of pipe organ, invented in the third century BC. The keys were balanced and could be played with a light touch, as is clear from the reference in a Latin poem by Claudian, who says magna levi detrudens murmura tactu... intent, “let him thunder forth as he presses out mighty roarings with a light touch”. From its invention until the fourteenth century, the organ remained the only keyboard instrument; the organ did not feature a keyboard at all, but rather buttons or large levers operated by a whole hand. Every keyboard until the fifteenth century had seven naturals to each octave; the clavichord and the harpsichord appeared during the fourteenth century—the clavichord being earlier. The harpsichord and clavichord were both common until widespread adoption of the piano in the eighteenth century, after which their popularity decreased; the piano was revolutionary because a pianist could vary the volume of the sound by varying the vigor with which each key was struck.
The piano's full name is gravicèmbalo con piano e forte meaning harpsichord with soft and loud but can be shortened to piano-forte, which means soft-loud in Italian. In its current form, the piano is a product of the late nineteenth century, is far removed in both sound and appearance from the "pianos" known to Mozart and Beethoven. In fact, the modern piano is different from the 19th-century pianos used by Liszt and Brahms. See Piano history and musical performance. Keyboard instruments were further developed in the early twentieth century. Early electromechanical instruments, such as the Ondes Martenot, appeared early in the century; this was a important contribution to the keyboard's history. Much effort has gone into creating an instrument that sounds like the piano but lacks its size and weight; the electric piano and electronic piano were early efforts that, while useful instruments in their own right, did not convincingly reproduce the timbre of the piano. Electric and electronic organs were developed during the same period.
More recent electronic keyboard designs strive to emulate the sound of specific make and model pianos using digital samples and computer models. Each acoustic keyboard contains 88 keys. Weighted keys, found on electronic keyboards, are designed to simulate the resistance of a key on an acoustic keyboard, via pressurization. There are 4 types of weighted keys. Keybeds, or non-weighted keys place the weights within the base of the keyboard; the second type, Semi-weighted uses springs, the third type is hammer keys. Most electronic keyboards use the fourth type: graded simulate keys. Weighted keys are made of wood, or metal/wood substitute. Enharmonic keyboard Musical instrument Orchestrina di camera Piano Symphony Young, Percy M. Keyboard Musicians of the World. London: Abelard-Schuman, 1967. N. B.: Concerns celebrated keyboard players and the various such instruments used over the centuries. ISBN 0-200-71497-X The general keyboard in the age of MIDI Renaissance Keyboards on the Heilbrunn Timeline of Art History, The Metropolitan Museum of Art The Pianofortes of Bartolomeo Cristofori on the Heilbrunn Timeline of Art History, The Metropolitan Museum of Art
Show (The Cure album)
Show is a live album by British alternative rock band The Cure, released in 1993 and recorded live over two nights at The Palace of Auburn Hills, Auburn Hills, Michigan in 1992, during the successful Wish tour. Show was released as a concert video; this live album was released along with Paris, recorded in Paris. Show leaned somewhat more towards the band's poppier and more recent material such as "Just Like Heaven", "Pictures of You" and "Friday I'm in Love" while Paris skewed towards their older cult-classics. Show is a double-CD release in most cases. There are various versions with differing track listings; the US version is the only one-disc edition. The songs which did not fit onto the US disc were released as the EP Sideshow; the CD-i version contains extra tracks. Disc one "Tape" – 2:25 "Open" – 7:18 "High" – 3:31 "Pictures Of You" – 7:38 "Lullaby" – 4:25 "Just Like Heaven" – 3:37 "Fascination Street" – 5:00 "A Night Like This" – 4:46 "Trust" – 5:15Disc two "Doing the Unstuck – 4:20 "The Walk" – 3:32 "Let's Go to Bed" – 3:41 "Friday I'm in Love" – 3:45 "In Between Days" – 3:12 "From the Edge of the Deep Green Sea" – 7:54 "Never Enough" – 4:52 "Cut" – 5:25 "End" – 7:58Single-disc release: "Open" - 7:20 "High" - 3:31 "Pictures of You" - 7:38 "Lullaby" - 4:15 "Just Like Heaven" - 3:34 "A Night Like This" - 4:45 "Trust" - 5:14 "Doing the Unstuck" - 4:00 "Friday I'm in Love" - 3:34 "In Between Days" - 2:55 "From The Edge of the Deep Green Sea" - 7:54 "Never Enough" - 4:45 "Cut" - 5:32 "End" - 8:04Sideshow EP: "Tape - 3:07 "Just Like Heaven" - 3:47 "Fascination Street" - 5:01 "The Walk" - 3:32 "Let's Go to Bed" - 3:38 "Tape" "Open" "High" "Pictures of You" "Lullaby" "Just Like Heaven" "Fascination Street" "A Night Like This" "Trust" "Doing the Unstuck" "The Walk" "Let's Go to Bed" "Friday I'm in Love" "In Between Days" "From the Edge of the Deep Green Sea" "Never Enough" "Cut" "End" "To Wish Impossible Things" "Primary" "Boys Don't Cry" "Why Can't I Be You?"
"A Forest" Robert Smith – vocals, guitar Simon Gallup – bass guitar Porl Thompson – guitar, keyboards Boris Williams – drums Perry Bamonte – keyboards, guitar
Boys Don't Cry (The Cure album)
Boys Don't Cry is The Cure's first release in North America. Released in February 1980, this album is composed of several tracks from the band's May 1979 debut album Three Imaginary Boys with material from the band's 1978-1979 era. Boys Don't Cry. According to AllMusic, the album " somewhere between official release and compilation", was released "in hopes of increasing the band's exposure outside of the U. K." Boys Don't Cry has been well received by critics. Debra Rae Cohen of Rolling Stone wrote. Lit. 201 scenarios". Robert Christgau of The Village Voice called the band's sound "dry post-punk, never pretty but treated with a properly mnemonic pop overlay" and was more reserved in his praise, adding, "I can look over the titles and recall a phrase from all but a few of these 13 songs. Intelligent phrases they are, yet somehow I find it hard to get excited about them". In 2003, the album was ranked at No. 442 on Rolling Stone's list of the 500 best albums ever. In the 2012 update of the same list, it moved up the list to No. 438.
All tracks written by The Cure. On most CD versions of the album, "Object" was replaced by "So What", the scream at the end of "Subway Song" was shortened and "World War" was removed; the CureRobert Smith – guitar, harmonica Michael Dempsey – bass guitar, vocals Lol Tolhurst – drumsTechnicalChris Parry – production Boys Don't Cry at Discogs
Pearl Thompson known as Porl Thompson, is an English musician best known for being a member of the Cure. Though friends had long used the name "Pearl", Thompson changed his first name to "Pearl" in 2015. Thompson was part of the original lineup of the Cure, when the band was first formed in 1976, but had left to go to art college by the time they released their debut album Three Imaginary Boys, he rejoined the band in 1983, playing saxophone, helped record the album The Top. During the Top tour, he played keyboard as well as guitar and saxophone, performed with The Glove when they appeared on television. Thompson performed on four more Cure studio albums and four live albums as well as the videos The Cure in Orange and Picture Show, he appears on the remix album Mixed Up and the deluxe issue of Three Imaginary Boys. He left the Cure in 1994 to play with Jimmy Page and Robert Plant of Led Zeppelin during the Page and Plant tour of 1995, played with Babacar, the band formed by Boris Williams following his departure from the Cure.
Thompson formed another project called Quietly Torn. He joined the singer's group for the 2002 release Dreamland. In 2002, Thompson had an exhibition of paintings in Cornwall, UK & Canada entitled "100% SKY". Thompson rejoined the Cure for a third time in June 2005, recorded the live DVD The Cure: Festival 2005, appeared on their 13th studio album, 4:13 Dream, toured with The Cure for their 2007-2008 4Tour. Thompson and designer Andy Vella are the co-founders of Parched Art, which has produced many of the record sleeves found on the Cure's albums, many of which Thompson drew or painted. In 2007, Schecter Guitars released a Porl Thompson Signature model, featuring graphics by the British artist Kev Grey, featured in the book 108 Rock Star Guitars by photographer Lisa S. Johnson. In 2013, now known as Pearl Thompson, he collaborated with Gonjasufi, other various artistic projects and charities such as WAR CHILD that Thompson, along with other renowned artists donated their own custom-made Caparelli guitar for auction.
In March 2015, Thompson had his first US painting exhibition of abstract landscape paintings at Mr MusicHead Art Gallery on Sunset Boulevard in Los Angeles, entitled: "... Through the eyes of birds." The work was inspired by remote Malibu canyons and desert landscapes. Early 2016, Thompson relocated to the Mojave desert, designed the artwork for Lol Tolhurst's autobiography "Cured" with a limited edition of thirteen laser cut books that display textured handmade silver stars. Thompson is featured on the album Callus by Gonjasufi, released in August 2016. Thompson is noted for being reclusive and private about his personal life, is now dedicated to painting; the CureThe Top Concert The Cure Live In Japan VHS The Head on the Door Standing on a Beach The Cure In Orange, VHS Kiss Me, Kiss Me, Kiss Me Disintegration Mixed Up Entreat Wish Paris Show Galore Greatest Hits Festival 2005, DVD 4:13 Dream GonjasufiCallus Page and PlantNo Quarter: Jimmy Page and Robert Plant Unledded Robert PlantDreamland Shelleyan OrphanHumroot BabacarBabacar https://www.113PERCENTSTRANGE.
COM/http://www.instagram.com/113PERCENTSTRANGEPorl Thompson bio http://sufisays.com/
Burstow is a village and civil parish in the Tandridge district of Surrey, England. Its largest settlement is Smallfield. Smallfield is 2.5 miles ENE of Gatwick Airport and the M23 motorway, 7.5 miles southwest of Oxted and 1.8 miles east of Horley. Crawley is a nearby large commercial town, 3.7 miles southwest of Burstow and 5 miles southwest of Smallfield. Towards the outside of the London commuter belt, some residents commute to the capital by road or rail from here as London is 24.5 miles to the north or Horley railway station is accessible. Burstowe and Burghstowe appear in the. No artefacts are held in or referred to in the Surrey Archaeological Society predating the Anglo Saxon era in this parish; the first mention of Burstow is in a church record of 1121 the north and part of the west walls of the nave, with the west half of the north wall of the chancel, are for the most part of 1210 in architecture. Records exist referring to this manor in the 13th century, today the Grade II* listed building with surrounding wide moat, Burstow Lodge taking up the north of all the parish land.
Stephen de Burstow, whose name appears in the seals as Stephen Fitz Hamo, held the manor in the latter part of the 12th century, that he was succeeded by his son Roger and his grandson John, the latter holding until and during the reign of Henry III, his descendant John de Burstow while Lord here served with the Black Prince during the wars with the French. A Charter of in 1247 gave the manor free warren, weekly markets and an annual three-day Michaelmas fair. In 1366 the reversion of the manor was given by Richard de Burstow to Sir Nicholas de Loveyne before passing to his son-in-law, Sir Philip St Clere; when Sir Philip St. Clere died in 1408 shortly after his wife, he was holding the manor of Burstow'of the Archbishop of Canterbury by paying £6 yearly at his manor of Wimbledon, his second son placed the manor in trust to three trustees for his heir's benefit'in order to defraud the King' of the fee, payable annually on the manor. His son-in-law Sir John Gage died in possession of the manor in 1475, which passed in turn to his son William and to William's son, another Sir John Gage.
Sir Edward Gage was his son and next Lord of the Manor, who as Sheriff of Surrey and Sussex was instrumental in the persecution of Protestants by Mary I who died in his last year as sheriff. His grandson sold the manor to Sir Edward Culpepper of Wakehurst holding it from 1614-40 when his son Sir William Culpeper, 1st Baronet of Wakehurst inherited it and became a Baronet. A family asset until the fourth Baronet sold Burstow Manor in 1696 to Sir William Raines LLD, whose son sold it in 1733 to Joseph Kirke whose death led to it belonging to James Harris, after which his son Christopher ran the manor followed by his son James until 1808. Thomas followed by his son John Hugh Bainbridge. On death in 1888 Alfred Howard Lloyd held the manor until at least 1911 and bought Burstow Lodge. Burstow Park was a detached possession of the manor of Wimbledon. Hubert, Archbishop of Canterbury until 1205 was mentioned as seized of this manor in a Charter relating to land to the south of Burstow Park. A commission was issued in 1328 against evildoers who had entered the parks of his manors at Croydon, Wimbledon and Burstow.
In 1531 Burstow Park was leased to Sir John Gage for 80 years, reserving the deer to the Archbishop until the following Christmas. Thomas Cranmer exchanged the Wimbledon manor with Henry VIII in 1535. In 1590 Elizabeth granted to Sir Thomas Cecil and his heirs the manor of Wimbledon and "all those our lands in Bristowe alias Burstowe called le Parke", after whom indebted Treasurer-at-War Sir Thomas Shirley held. 8d. Remaining due to her, which she obtained from the next buyers: William Bowes and others. Passing by Quarles and Infield, Falconer and Payne in whose possession a park is mentioned as still existing in 1649. John Payne was holding it and owing to a dispute it was bought by his cousin John Smith and during this 18th century period it passed to Walter Harris, Daniel Hailes and Thomas Dickson, in the 19th century it passed to Henry Kelsey, who died in 1827, whose son, of Burstow Court Manor owned the estate in 1841 and held it as a farm until death in 1887 when Alfred Lloyd bought it.
Burstow Park is considered the manor house of Burstow Court Manor, as well as of Burstow Park, but is not the most ancient manor-house of the former. Burstow Lodge was another manor, and in suit of manorial court. Owners surnames in order were Codyington. John de Wysham's manor of Redehall consisted in 1332 of 1 messuage, 160 acres of land, 6 acres acres of meadow, 22s. Rent in Burstow known as the manor of Redhall near Burstow, which he held, jointly with Hawisia his wife, of John de Burstow, his son John was
The bass guitar is a plucked string instrument similar in appearance and construction to an electric guitar, except with a longer neck and scale length, four to six strings or courses. The four-string bass is tuned the same as the double bass, which corresponds to pitches one octave lower than the four lowest-pitched strings of a guitar, it is played with the fingers or thumb, or striking with a pick. The electric bass guitar has pickups and must be connected to an amplifier and speaker to be loud enough to compete with other instruments. Since the 1960s, the bass guitar has replaced the double bass in popular music as the bass instrument in the rhythm section. While types of basslines vary from one style of music to another, the bassist plays a similar role: anchoring the harmonic framework and establishing the beat. Many styles of music include the bass guitar, it is a soloing instrument. According to the New Grove Dictionary of Music and Musicians, an "Electric bass guitar a Guitar with four heavy strings tuned E1'-A1'-D2-G2."
It defines bass as "Bass. A contraction of Double bass or Electric bass guitar." According to some authors the proper term is "electric bass". Common names for the instrument are "bass guitar", "electric bass guitar", "electric bass" and some authors claim that they are accurate; the bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds. In the 1930s, musician and inventor Paul Tutmarc of Seattle, developed the first electric bass guitar in its modern form, a fretted instrument designed to be played horizontally; the 1935 sales catalog for Tutmarc's electronic musical instrument company, featured his "Model 736 Bass Fiddle", a four-stringed, solid-bodied, fretted electric bass guitar with a 30 1⁄2-inch scale length, a single pick up. The adoption of a guitar's body shape made the instrument easier to hold and transport than any of the existing stringed bass instruments; the addition of frets enabled bassists to play in tune more than on fretless acoustic or electric upright basses.
Around 100 of these instruments were made during this period. Audiovox sold their “Model 236” bass amplifier. Around 1947, Tutmarc's son, began marketing a similar bass under the Serenader brand name, prominently advertised in the nationally distributed L. D. Heater Music Company wholesale jobber catalogue of 1948. However, the Tutmarc family inventions did not achieve market success. In the 1950s, Leo Fender and George Fullerton developed the first mass-produced electric bass guitar; the Fender Electric Instrument Manufacturing Company began producing the Precision Bass in October 1951. The "P-bass" evolved from a simple, un-contoured "slab" body design and a single coil pickup similar to that of a Telecaster, to something more like a Fender Stratocaster, with a contoured body design, edges beveled for comfort, a split single coil pickup; the "Fender Bass" was a revolutionary new instrument for gigging musicians. In comparison with the large, heavy upright bass, the main bass instrument in popular music from the early 1900s to the 1940s, the bass guitar could be transported to shows.
When amplified, the bass guitar was less prone than acoustic basses to unwanted audio feedback. In 1953 Monk Montgomery became the first bassist to tour with the Fender bass guitar, in Lionel Hampton's postwar big band. Montgomery was possibly the first to record with the bass guitar, on July 2, 1953 with The Art Farmer Septet. Roy Johnson, Shifty Henry, were other early Fender bass pioneers. Bill Black, playing with Elvis Presley, switched from upright bass to the Fender Precision Bass around 1957; the bass guitar was intended to appeal to guitarists as well as upright bass players, many early pioneers of the instrument, such as Carol Kaye, Joe Osborn, Paul McCartney were guitarists. In 1953, following Fender's lead, Gibson released the first short-scale violin-shaped electric bass, with an extendable end pin so a bassist could play it upright or horizontally. Gibson renamed the bass the EB-1 in 1958. In 1958, Gibson released the maple arched-top EB-2 described in the Gibson catalogue as a "hollow-body electric bass that features a Bass/Baritone pushbutton for two different tonal characteristics".
In 1959 these were followed by the more conventional-looking EB-0 Bass. The EB-0 was similar to a Gibson SG in appearance. Whereas Fender basses had pickups mounted in positions in between the base of the neck and the top of the bridge, many of Gibson's early basses featured one humbucking pickup mounted directly against the neck pocket; the EB-3, introduced in 1961 had a "mini-humbucker" at the bridge position. Gibson basses tended to be smaller, sleeker instruments with a shorter scale length than the Precision. A number of other companies began manufacturing bass guitars during the 1950s: Kay in 1952, Hofner and Danelectro in 1956, Rickenbacker in 1957 and Burns/Supersound in 1958. 1956 saw the appearance at the German trade fair "Musikmesse Frankfurt" of the distinctive Höfner 500/1 violin-shaped bass made using violin construction techniques by Walter Höfner, a second-generation violin luthier. The design was known popularly as the "Beat