Staffordshire
Staffordshire is a landlocked county in the West Midlands of England. It borders with Cheshire to the northwest and Leicestershire to the east, Warwickshire to the southeast, West Midlands and Worcestershire to the south, Shropshire to the west; the largest city in Staffordshire is Stoke-on-Trent, administered separately from the rest of the county as an independent unitary authority. Lichfield has city status, although this is a smaller cathedral city. Major towns include Stafford, Burton upon Trent, Newcastle-under-Lyme and Tamworth. Smaller towns include Stone, Uttoxeter, Burntwood/Chasetown, Eccleshall and the large villages of Wombourne, Tutbury, Barton-under-Needwood and Abbots Bromley. Cannock Chase AONB is within the county as well as parts of the National Forest and the Peak District national park. Wolverhampton, West Bromwich and Smethwick are within the historic county boundaries of Staffordshire, but since 1974 have been part of the West Midlands county. Apart from Stoke-on-Trent, Staffordshire is divided into the districts of Cannock Chase, East Staffordshire, Newcastle-under-Lyme, South Staffordshire, Staffordshire Moorlands, Tamworth.
Staffordshire was divided into five hundreds: Cuttlestone, Pirehill and Totmonslow. The historic boundaries of Staffordshire cover much of what is now the metropolitan county of West Midlands. An administrative county of Staffordshire was set up in 1889 under the Local Government Act 1888 covering the county except the county boroughs of Wolverhampton and West Bromwich in the south, Hanley in the north; the Act saw the towns of Tamworth and Burton upon Trent united in Staffordshire. In 1553 Queen Mary made Lichfield a county corporate, meaning it was administered separately from the rest of Staffordshire, it remained so until 1888. Handsworth and Perry Barr became part of the county borough of Birmingham in the early 20th century, thus associated with Warwickshire. Burton, in the east of the county, became a county borough in 1901, was followed by Smethwick, another town in the Black Country in 1907. In 1910 the six towns of the Staffordshire Potteries, including Hanley, became the single county borough of Stoke-on-Trent.
A significant boundary change occurred in 1926 when the east of Sedgley was transferred to Worcestershire to allow the construction of the new Priory Estate on land purchased by Dudley County Borough council. A major reorganisation in the Black Country in 1966, under the recommendation of the Local Government Commission for England led to the creation of an area of contiguous county boroughs; the County Borough of Warley was formed by the merger of the county borough of Smethwick and municipal borough of Rowley Regis with the Worcestershire borough of Oldbury: the resulting county borough was associated with Worcestershire. Meanwhile, the county borough of Dudley a detached part of Worcestershire and became associated with Staffordshire instead; this reorganisation led to the administrative county of Staffordshire having a thin protrusion passing between the county boroughs and Shropshire, to the west, to form a short border with Worcestershire. Under the Local Government Act 1972, on 1 April 1974 the county boroughs of the Black Country and the Aldridge-Brownhills Urban District of Staffordshire became, along with Birmingham and Coventry and other districts, a new metropolitan county of West Midlands.
County boroughs were abolished, with Stoke becoming a non-metropolitan district in Staffordshire, Burton forming an unparished area in the district of East Staffordshire. On 1 April 1997, under a recommendation of the Banham Commission, Stoke-on-Trent became a unitary authority independent of Staffordshire once more. In July 2009 the largest hoard of Anglo-Saxon gold found in Britain was discovered in a field near Lichfield; the artefacts, known as The Staffordshire Hoard have tentatively been dated to the 7th or 8th centuries, placing the origin of the items in the time of the Kingdom of Mercia. This is a chart of trend of regional gross value added of the non-metropolitan county of Staffordshire at current basic prices published by Office for National Statistics with figures in millions of British pounds sterling; some nationally and internationally known companies have their base in Staffordshire. They include the Britannia Building Society, based in Leek. JCB is based in Rocester near Uttoxeter and Bet365, based in Stoke-on-Trent.
The theme park Alton Towers is in the Staffordshire Moorlands and several of the world's largest pottery manufacturers are based in Stoke-on-Trent. Staffordshire has a comprehensive system with eight independent schools. Most secondary schools are from 11–16 or 18, but two in Staffordshire Moorlands and South Staffordshire are from 13–18. Resources are shared. There are two universities in the county, Keele University in Newcastle-under-Lyme and Staffordshire University, which has campuses in Stoke-on-Trent, Stafford and Shrewsbury; the modern county of Staffordshire has three professional football clubs – Stoke City and Port Vale, both from Stoke-on-Trent, Burton Albion, who play in Burton upon Trent. Stoke City, one of the oldest professional football clubs in existence, were founded in 1863 and played at the Victoria Ground for 119 years from 1878 until their relocation to the Britannia Stadium in 1997, they were among the 12 founder members of the Football League in 1888. By the late 1930s, they were establi
Grammar school
A grammar school is one of several different types of school in the history of education in the United Kingdom and other English-speaking countries a school teaching Latin, but more an academically-oriented secondary school, differentiated in recent years from less academic secondary modern schools. The original purpose of medieval grammar schools was the teaching of Latin. Over time the curriculum was broadened, first to include Ancient Greek, English and other European languages, natural sciences, history and other subjects. In the late Victorian era grammar schools were reorganised to provide secondary education throughout England and Wales. Grammar schools of these types were established in British territories overseas, where they have evolved in different ways. Grammar schools became the selective tier of the Tripartite System of state-funded secondary education operating in England and Wales from the mid-1940s to the late 1960s and continuing in Northern Ireland. With the move to non-selective comprehensive schools in the 1960s and 1970s, some grammar schools became independent and charged fees, while most others were abolished or became comprehensive.
In both cases, many of these schools kept "grammar school" in their names. More a number of state grammar schools still retaining their selective intake gained academy status, meaning that they are independent of the Local Education Authority; some parts of England retain forms of the Tripartite System, a few grammar schools survive in otherwise comprehensive areas. Some of the remaining grammar schools can trace their histories to before the 16th century. Although the term scolae grammaticales was not used until the 14th century, the earliest such schools appeared from the sixth century, e.g. the King's School and the King's School, Rochester. The schools were attached to cathedrals and monasteries, teaching Latin – the language of the church – to future priests and monks. Other subjects required for religious work were added, including music and verse and mathematics and law. With the foundation of the ancient universities from the late 12th century, grammar schools became the entry point to a liberal arts education, with Latin seen as the foundation of the trivium.
Pupils were educated in grammar schools up to the age of 14, after which they would look to universities and the church for further study. Three of the first schools independent of the church – Winchester College, Oswestry School and Eton College – were tied to the universities. An example of an early grammar school founded by an early modern borough corporation unconnected with church or university is Bridgnorth Grammar School, founded in 1503 by Bridgnorth Borough Corporation. During the English Reformation in the 16th century, most cathedral schools were closed and replaced by new foundations funded from the dissolution of the monasteries. For example, the oldest extant schools in Wales – Christ College and the Friars School, Bangor – were established on the sites of former Dominican monasteries. King Edward VI made an important contribution to grammar schools, founding a series of schools during his reign. A few grammar schools were established in the name of Queen Mary and Queen Elizabeth I.
King James I founded a series of "Royal Schools" in Ulster, beginning with The Royal Armagh. In theory these schools offered free tuition to those who could not pay fees. In the Scottish Reformation schools such as the Choir School of Glasgow Cathedral and the Grammar School of the Church of Edinburgh passed from church control to burgh councils, the burghs founded new schools. With the increased emphasis on studying the scriptures after the Reformation, many schools added Greek and, in a few cases, Hebrew; the teaching of these languages was hampered by a shortage of non-Latin type and of teachers fluent in the languages. During the 16th and 17th centuries the setting-up of grammar schools became a common act of charity by nobles, wealthy merchants and guilds. Many of these are still commemorated in annual "Founder's Day" services and ceremonies at surviving schools; the usual pattern was to create an endowment to pay the wages of a master to instruct local boys in Latin and sometimes Greek without charge.
The school day ran from 6 a.m. to 5 p.m. with a two-hour break for lunch. Most of the day was spent in the rote learning of Latin. To encourage fluency, some schoolmasters recommended punishing any pupil; the younger boys learned the parts of speech and Latin words in the first year, learned to construct Latin sentences in the second year, began translating English-Latin and Latin-English passages in the third year. By the end of their studies at age 14, they would be quite familiar with the great Latin authors, with Latin drama and rhetoric. Other skills, such as arithmetic and handwriting, were taught in odd moments or by travelling specialist teachers such as scriven
The New Art Gallery Walsall
The New Art Gallery Walsall is a modern and contemporary art gallery sited in the centre of the West Midlands town of Walsall, England. It was built with £21 million of public funding, including £15.75 million from the UK National Lottery and additional money from the European Regional Development Fund and City Challenge. The Gallery is funded by Arts Council England. Admission is free, its first Director was Peter Jenkinson. In May 2005, former BALTIC director Stephen Snoddy was appointed as Director. Designed by the architects Caruso St John after winning an international design competition, it opened in January 2000, replacing the town's old gallery and an arts centre, closed by the Council a decade earlier, it was opened by Queen Elizabeth II on 5 May 2000, during her visit to the West Midlands. The New Art Gallery's stark building won several architectural awards and attracted over 237,000 visitors in its opening year. In 2000, the gallery was shortlisted for the prestigious Sterling Architecture Prize.
The five-story building has a floor area of 5,000 square metres. The interior of the Gallery features a heavy use of concrete and 75mm thick douglas fir wooden cladding; the public square surrounding the building was designed by Catherine Yass. The Gallery has been seen as an attempt to encourage regeneration in the local area; the architecture has been both praised and criticised, described as "almost flawless" by the RIBA and "extraordinarily good" by Hugh Pearman but castigated by John Stewart-Young as an "architectural indulgence", an impressive building that lacks consideration of how the wider public will use it. The essayist Theodore Dalrymple described the interior as resembling both "a fascist foreign ministry" and "a sauna of gigantic proportions", the exterior as "a hybrid of grain silo and secret police headquarters". There have been a number of minor alterations to the building since its opening, including changing of the ground floor retail area into a cafe, addition of more windows around its entrance.
In 2006, Floor 4 of the gallery was transformed from a restaurant area into a new gallery space. The gallery space with 8m high ceiling has enabled the Gallery to present a further programme of exhibitions, in addition to its main temporary exhibition galleries; this has included exhibitions by regional and internationally renowned artists including David Batchelor, Richard Billingham and Leo Fitzmaurice. In 2012, artist Sarah Staton was commissioned to design a new sculpture terrace for the Gallery, opening to the public that same year the space converted a underused area of patio on floor 4; the Gallery houses the fixed Garman Ryan Collection of sculptures and paintings by modern masters including a large selection of work by Jacob Epstein and many significant works by European artists including Vincent Van Gogh, Claude Monet, Corot and Constable represented in prints, drawings and sculptures. The collection was donated to the people of Walsall in 1973 by Epstein's late wife Kathleen Garman and her friend Sally Ryan.
In 2006, the gallery acquired the Epstein Archive, a collection of photographs, manuscripts and correspondence between Jacob Epstein and his family and friends, patrons and galleries. In 2009 Bob and Roberta Smith was commissioned to work alongside Archive Curator Neil Lebeter to reveal the undocumented and unseen Epstein Archive to audiences; the initiative forms part of New Ways of Curating, a project initiated by Arts Council England. The permanent collection of artworks at the Gallery incorporates the municipal holdings built up from 1892, from the formal foundation of Walsall's art collection, it ranges from Victorian paintings by Frank Holl and Briton Rivière, including some of local interest through to works by contemporary artists, such as Catherine Yass, Robert Priseman and Fiona Banner. Through the Contemporary Art Society Special Collection scheme, the New Art Gallery Walsall was able to add to its collections works by Gavin Turk, Hew Locke, Mike Nelson, Yoshihiro Suda, Dorothy Cross, Laura Ford, Darren Lago, Estelle Thompson, Richard Woods, Yinka Shonibare and Rose Finn-Kelcey.
The works that comprise this collection transfer ownership to Walsall Council from the Contemporary Art Society in 2014. In 2007, the New Art Gallery was awarded £1million through the Art Fund International to collect international contemporary art on the theme of the metropolis; this has included the acquisition of works by Jochem Hendricks, Grazia Toderi, Dynita Singh, Zhang Enli, Christiane Baumgartner, Barry McGee and Nicolas Provost. The temporary exhibition galleries on the third and fourth floor are dedicated to exhibiting contemporary and historic art; the Gallery has held solo exhibitions by artists including Suzanne Treister, Mark Titchner, Toby Ziegler, Conrad Shawcross, Hew Locke, Joana Vasconcelos, Zarina Bhimji, Christopher Le Brun, Gordon Cheung, Layla Curtis, Anna Barriball, Adam Dant Gavin Turk and Jonathan Yeo. Between 2012 and 2013, the Gallery hosted the first year long display of works by artist Damien Hirst as part of the ARTIST ROOMS on Tour in partnership with Tate; the New Art Gallery has a history of exhibiting group shows, beginning with the inaugural exhibition Blue featuring works by artists such as Anish Kapoor, Glen Brown, Barbara Hepworth and Bridget Riley.
The 2009 exhibition Re-Imagining Asia, aimed to explore the meaning and relevance of the term “contemporary Asian art” in the 21st century and within a wider context of globalisation, migration and an international art world. It featured artists such as Song Dong, exhibiting here in t
How Does It Feel (Slade song)
"How Does It Feel" is song by the British rock band Slade, released in 1975 as the second single from the band's first soundtrack album and fifth studio album Slade in Flame, in promotion of the film of the same name. The song was written by lead vocalist Noddy Holder and bassist Jim Lea, produced by Chas Chandler, it reached No. 15 in the UK, remaining in the charts for seven weeks. By 1974, Slade had become a big success in the UK, Europe and beyond, their manager Chas Chandler suggested. To accompany the film and Lea began writing material for a soundtrack album, which would continue to see the band break out of their successful formula and try different musical ideas. In late 1974, the lead single. 2, while Slade in Flame peaked at No. 6. Following the film's release in January 1975, it was decided to release "How Does It Feel" as the second single the following month, it reached No. 15, the band's first single not to reach the UK Top 5 since their 1971 breakthrough with "Get Down and Get with It".
The melody of "How Does It Feel" was the first Lea had written, while he was still in school. He came up with the idea on an old piano which he described as having half the keys missing. Although the tune never developed any further at that time, Lea revisited it for use as the theme tune for Flame. Holder wrote the song's lyrics and it became "How Does It Feel"; the song featured a brass section, performed by members of Gonzalez. In the band's 1984 biography Feel the Noize!, Lea recalled: "It was an old song that I'd written and Nod put some great lyrics to it. Tommy Vance said that we were in for a hard time, but it didn't matter to me whether it was number one or number 15... to me it was a much better record than we'd made before and, all I cared about."Despite the song's disappointing charting, "How Does It Feel" is now considered as one of the band's finest songs. In 1999, Noel Gallagher of Oasis said the song was "one of the best songs written, in the history of pop, ever". In a 1986 fan club interview, guitarist Dave Hill spoke of the song: "It was different to anything we had done before, but you see we were capable of that sort of thing, though our manager/producer Chas Chandler used to keep us clear from that.
Trying to be too clever was considered at the time to be going in another direction." "How Does It Feel" was released on 7" vinyl by Polydor Records in the UK, across Europe, Yugoslavia and Japan. In America, it was released by Warner Bros. Records in September 1975; the B-side on the Polydor releases of the single was the Slade in Flame album track "So Far So Good". In America, "O. K. Yesterday Was Yesterday" featured as the B-side taken from Slade in Flame. In the UK, the first 200,000 copies of the single featured a colour sleeve. No music video was created to promote the single. In the UK, the band performed the song on the music show Top of The Pops, The Russell Harty Show and the children's show Crackerjack; the band performed the song on the Dutch AVRO TV show TopPop. Upon release, Record Mirror noted the song was "very different" from Slade's usual sound, with "far less reliance on guitars and far more on an orchestral arrangement". Disc said the song was one of Slade's best, commented: "Starting it builds up, simmers down, flares up and so on".
American magazine Cash Box listed the single as one of their "picks of the week" during August 1975. They described the song as an "effective ballad-like, single" with "effective vocals and tight licks". In a review of the Slade in Flame album, Record Mirror said: ""How Does It Feel" has a slower relaxed beat with grasping dramatic vocals delivered with as much feeling as Sir Larry's "Richard III"." Disc said: "For once Noddy's voice is allowed to take total precedence and the result is a poignant and unusual number." In a retrospective review of the album, Geoff Ginsberg of AllMusic commented: "From the opening number, "How Does It Feel," Slade sets a different tone". 7" Single"How Does It Feel" - 4:46 "So Far So Good" - 2:597" Single"How Does It Feel" - 3:15 "O. K. Yesterday Was Yesterday" - 3:587" Single"How Does It Feel" - 3:15 "How Does It Feel" - 3:15 In 2001, English rock vocalist Chris Farlowe recorded a version of the track for the tribute album Slade Remade. In 2006, English rock group Def Leppard released their own version of the song as an iTunes exclusive bonus track for their album Yeah!.
In 2016, English singer-songwriter James Blunt performed a version of the song as part of his set at the opening ceremony of the 2016 Invictus Games in Orlando, Florida. In 2017, British singer Joanna Forest released her own version of the song on her debut album Stars Are Rising, it was released as the album's first single. SladeNoddy Holder - lead vocals, guitar Dave Hill - lead guitar, backing vocals Jim Lea - bass, organ, backing vocals Don Powell - drumsAdditional personnelMembers of Gonzalez - brass section Chas Chandler - producer Lyrics of this song at MetroLyrics
Cum On Feel the Noize
"Cum On Feel the Noize" is a song by the British rock band Slade, released in 1973 as a non-album single. It was written by lead vocalist Noddy Holder and bassist Jim Lea, produced by Chas Chandler, it reached No. 1 in the UK, giving the band their fourth number one single, remained in the charts for twelve weeks. The song would be included on the band's 1973 compilation album Sladest. In 1983, the American heavy metal band Quiet Riot recorded their own version of the song, a million selling hit single in the United States, reaching No. 5 on the Billboard Hot 100. Slade released "Cum On Feel the Noize" in February 1973 as their first single of the year; the song gave the band their fourth number one in the UK, their first single to enter number one in its first week. This achievement had not been seen since The Beatles' "Get Back" in 1969; the song remained there for four consecutive weeks and sold 500,000 copies in its first three weeks of release. With "Cum On Feel the Noize", the band's manager Chas Chandler and Polydor's head John Fruin had devised a strategy to get the single to number one on the first week of release.
The strategy used pre-release airplay to build up pre-order sales for the single. In America, the song reached No. 98 on the Billboard Hot 100."Cum On Feel the Noize" detailed the atmosphere found at the band's concerts. Titled "Cum On Hear the Noize", Holder changed the title after recalling one of the band's 1972 UK concerts, where he "felt the sound of the crowd pounding in chest"; the song's introduction of Holder shouting "Baby, baby" had just been a microphone test and was not intended for the finished recording. In a 1984 interview with Record Mirror, Lea spoke of "Mama Weer All Crazee Now" and "Cum On Feel the Noize": "I was at a Chuck Berry gig in'72 and everybody was singing his tunes, he kept stopping and letting the crowd sing and it wasn't just a few people, it was everyone. I thought it was amazing and thought – why not write the crowd into the songs, so we got round to "Mama Weer All Crazee Now" and "Cum On Feel the Noize" and all the chants were written into the tunes." In a 1986 fan club interview, guitarist Dave Hill said: "The song was based around audiences and things that were happening to us.
They were just experiences. When you are on the road, you are writing about being on the road, you're writing about what's going on." "Cum On Feel the Noize" was released on 7" vinyl by Polydor Records in the UK, across Europe, Yugoslavia, Israel, South Africa, New Zealand, Brazil, Singapore and Lebanon. The B-side, "I'm Mee, I'm Now, an' That's Orl", was exclusive to the single and would appear on the band's 2007 compilation B-Sides. In December 1983, the song was re-issued by Polydor in the UK on 7" and 12" vinyl, it remained in the charts for two weeks. The 7" version featured "Take Me Bak'Ome" and "Gudbuy T'Jane" as the extra tracks, while the 12" version added "Coz I Luv You". A music video was filmed to promote the single, it was recorded at the band's concert at the Hague in the Netherlands. The song was performed on numerous UK and European TV shows upon release, including the UK music show Top of the Pops. Upon release, Disc commented: "Slade do this pop/rock stomping better than anyone.
There's a more obvious melody, but Slade always include a bit of a tune anyway and therein lies their success, there's a soccer sing-a-long chorus that'll grab you." Sounds described the song as a "rousing, rocker that follows its predecessors with an recognisable sound". American magazine Cash Box listed the single as one of their "picks of the week" during April 1973, they felt it was another "rollicking rock effort", "teaming with commercial appeal". In a retrospective review of the song, Dave Thompson of AllMusic described the song as "a deafening roar in the classic Slade mould" with a "distinctive lyric", he commented on the "Baby, baby" introduction, stating it was "one of the most distinctive intros of the age". In a retrospective review of Sladest, Paul Tinelli of AllMusic included the song as one of the band's "finest moments" and described it as an "arena rocker that would get kids up off their seats." In 1999, Q listed "Cum On Feel the Noize" at No. 96 in their poll of the Top 100 singles of all time.
In 2005, they listed the song at No. 62 in their poll "100 Greatest Guitar Tracks Ever!" 7" Single"Cum On Feel the Noize" – 4:24 "I'm Mee, I'm Now, An' That's Orl" – 3:417" Single"Cum On Feel the Noize" – 4:24 "Cum On Feel the Noize" – 4:247" Single"Cum On Feel the Noize" – 4:24 "I'm Mee, I'm Now, An' That's Orl" – 3:41 "Get Down and Get with It" - 4:12 "Gudbuy Gudbuy" - 3:307" Single"Cum On Feel the Noize" – 4:24 "Mama Weer All Crazee Now" – 3:45 "Everyday" - 3:11 "Skweeze Me, Pleeze Me" - 3:317" Single"Cum On Feel the Noize" – 4:24 "Take Me Bak'Ome" – 3:13 "Gudbuy T' Jane" – 3:3112" Single"Cum On Feel the Noize" – 4:24 "Take Me Bak'Ome" – 3:13 "Gudbuy T' Jane" – 3:31 "Coz I Luv You" – 3:24 SladeNoddy Holder - lead vocals, rhythm guitar Dave Hill - lead guitar, backing vocals Jim Lea - bass, backing vocals Don Powell - drumsAdditional personnelChas Chandler - producer In 1983, American heavy metal band Quiet Riot covered the song. Their version went on to reach No. 5 on the Billboard Hot 100 in November 1983 and helped their album Metal Health become a number-one hit.
The song's success drew huge nationwide attention to the 1980s Los Angeles metal scene and helped to break Slade belatedly in the US in 1984, after signing a deal with CBS. The song was certified gold by the RIAA. In 2002, Quiet Riot's version of "Cum On Feel the Noize" was
Crying in the Rain
"Crying in the Rain" is a song written by Howard Greenfield and Carole King and recorded by The Everly Brothers. The single peaked at #6 on the U. S. pop charts in 1962. The song was the only collaboration between successful songwriters Greenfield and King, both of whom worked for Aldon Music at the time of the song's composition. On a whim, two Aldon songwriting partnerships decided to switch partners for a day -- Gerry Goffin partnered with Greenfield's frequent writing partner, Jack Keller, leaving King and Greenfield to pair up for the day. Despite the commercial success of their collaboration and Greenfield never wrote another song together. In 1989, the Norwegian pop band a-ha covered the song, it was the first single taken from their 1990 "East of the Sun, West of the Moon" album. Following its success, a-ha became closer to the Everly Brothers, who had recorded the song; the band members were presented a set of guitars by the Everly Brothers. This is one of the few commercially available songs that a-ha have covered, the only others being "Velvet", first released by Savoy, "Dragonfly", first released by Magne Furuholmen.
The video was directed by Steve Barron. The theme of the video is a robbery gone wrong, it is the second version of this video. The first version did not feature any of the scenes of Morten Harket singing alone; the video was filmed with a specific technique of mobile cameras, it was filmed in Big Timber, Montana. "Crying in the Rain" was a-ha's last single to go top 40 on a Billboard chart in the U. S. to date, peaking at #26 on the Billboard Adult Contemporary chart during the week ending April 6, 1991. It was more popular internationally, topping the charts in the band's native Norway, peaking at #13 in the UK Singles Chart, where the band had found previous success as well, it was the 32nd most successful song of the year 2010 in Romanian Top 100, although it peaked outside the top 20. "Crying in the Rain" – 4:25 " Nonstop July" – 2:55 "Crying in the Rain" – 4:25 " Nonstop July" – 2:55 "Cry Wolf" – 4:05 "Crying in the Rain" – 4:25 " Nonstop July" – 2:55 "Cry Wolf" – 4:05 Year-End Charts: #35 GER, #53 ITA "Crying in the Rain" was covered by many other artists.
In 1972, Penny DeHaven in duet with Del Reeves released a Country version on a single only. Country singer Tammy Wynette covered the song in 1981, bringing it to the top 20 of the US country singles charts and #11 in the Canadian RPM Country 50 Singles. In 1989 it was covered by Blessings in Disguise, a band composed of Dave Hill and Noddy Holder of British hard rock band, Slade; the song was released as a single, backed with the Dave Hill written track, "Wild Nites". The song was covered by Crystal Gayle on her 1981 album Hollywood, Tennessee and by the British duo Peter and Gordon. Singer Art Garfunkel, of Simon and Garfunkel fame, covered the song in his album Up'til Now in a duet with James Taylor, it was released in 2010 on Micky Dolenz King For a Day album. The song was covered by the Eurovision Song Contest winner Johnny Logan. German band Gregorian covered the song on their album Masters of Chant Chapter VI; the song was covered by Marty Kristian of the New Seekers in 1973 "Crying In The Rain"/"A Woman Grows" Nick Lowe and Dave Edmunds released a version of the song on their 1980 EP, Nick Lowe & Dave Edmunds Sing The Everly Brothers.
Carole King covered the song she co-wrote on her 1983 album Speeding Time and in a rare live performance with the group The Wallflowers in a televised performance. Danzig covered the song on the 2015 album Skeletons. Whitesnake recorded a song by the same name, it was released in 1982 on the album Saints & Sinners. In 1987, it was re-recorded for Whitesnake's self titled album. Culture Beat recorded a different song with the same title, it peaked at #29 in the UK Singles Chart. Allmusic review of The Everly Brothers version Listen to "Crying in the Rain" Lyrics of this song at MetroLyrics
British Academy of Songwriters, Composers, and Authors
The British Academy of Songwriters and Authors is one of the largest professional associations for music writers in Europe and exists to support and campaign for the interests of songwriters and composers. It represents music writers in all genres, from song writing to media, contemporary classical to jazz and has 2000 members. BASCA exists to support and protect the professional interests of songwriters and composers of all genres of music and to celebrate and encourage excellence in British music writing; the Composers Guild of Great Britain was founded in 1944 to represent composers of classical music, with Ralph Vaughan Williams elected as first President. The Songwriters' Guild of Great Britain known as The British Academy of Songwriters and Authors was founded in 1947 by Ivor Novello, Sir Alan Herbert, Eric Coates, Haydn Wood, Richard Addinsell and others for the encouragement and protection of British popular music, with Eric Maschwitz acting as the first Vice Chair, Chairman in 1948, again between 1954 and 1958.
The Association of Professional Composers was founded in 1976 by George Fenton to represent composers of film and TV music. In 1958 the Composers' Guild of Great Britain began publishing the journal Composer, published a number of catalogs of available works. In 1967 the organisation, under the direction of Ruth Gipps, established the British Music Information Centre. In 1999 The Association of Professional Composers and the Composers' Guild of Great Britain merged with the British Academy of Songwriters and Authors to provide a single, more powerful amalgamated organisation to represent its membership; the organization's current name was adopted in March, 2009. Sir Tim Rice was elected first president, Guy Fletcher and David Stoll served as joint chairs of a nine-member Board of Directors. Three executive committees were established to administer Pop and Theatrical Music, Concert Music and Media. BASCA now has four genre committees representing Songwriters, Classical and Media composers. Members of BASCA include emerging songwriters and the United Kingdom's "most experienced and successful writers."
A partial list of the past and present members includes David Arnold, Harrison Birtwistle, Peter Maxwell Davies, George Fenton, Guy Garvey, Howard Goodall, Annie Lennox, Elton John, Paul McCartney. Rolling Stones members Mick Jagger, Keith Richards are members, as are Sting, Pete Townshend, Imogen Heap, David Gilmour, George Michael, Alex Turner, Benson Taylor, Chris Martin, Lynsey de Paul, Cathy Dennis, Kate Bush, Evelyn Glennie, Gary Barlow, Chrissie Hynde, Sharleen Spiteri, Thom Yorke. BASCA is a member of UK Music, an umbrella organisation which represents the collective interests of the production side of UK's commercial music industry: artists, songwriters, record labels, artist managers, music publishers, studio producers and music collecting societies. Songwriter Crispin Hunt became the chairman of BASCA in July 2016. In 1955 The Songwriters' Guild of Great Britain established the Ivor Novello Awards to honour excellence in British music writing; the award is considered to be "prestigious."
In 1974 the Academy established the Gold Badge Awards for individuals who make outstanding contributions to Britain’s music and entertainment industry, sponsored annually by PRS for Music. The organization presents the British Composer Awards for excellence in classical and jazz music sponsored by the PRS for Music and in association with BBC Radio 3; the Beatles have won 15 Ivor Novello Awards from the British Academy of Songwriters and Authors as well as 7 Grammy Awards. See List of awards and nominations received by The Beatles. BASCA established the fellowship in 1999, it was first awarded in 2000. Fellows are: 2000 – Paul McCartney 2001 – Malcolm Arnold, John Barry 2005 – John Adams, David Arnold, Pierre Boulez, John Dankworth, Peter Maxwell Davies, Elton John 2006 – Barry Gibb, Maurice Gibb, Robin Gibb 2007 – George Fenton 2008 – David Ferguson 2009 – Don Black 2012 – Andrew Lloyd Webber 2013 – Tim Rice 2015 – Annie Lennox BASCA exists to support and protect the professional interests of songwriters and composers of all genres of music and to celebrate and encourage excellence in British music writing.
Its aims and objectives are: To campaign as a leading force in the domestic and international political arenas To celebrate excellence through world-class awards ceremonies – the Ivor Novello Awards, the British Composer Awards and the Gold Badge Awards To inform our members in a changing environment through our publications and seminars To foster a sense of community amongst British songwriters and lyricists To encourage the next generation of professional music writers. The organization provides pro bono legal services, insurance cover, model contracts, a tax helpline, professional development seminars and master-classes, online promotion, a collaboration service, networking opportunities and newsletters. Central to BASCA’s campaigning agenda is the digital royalties campaign: The Day The Music Died. Through this vehicle, the organisation advocates for a fairer environment for songwriters and composers by addressing the major problem areas threatening the value and security of creators’ rights.
The campaign is calling for: • A 50/50 split in gross royalty income for writers from digital services. • A higher proportion of advertising income. • The removal of auto predictive fill in of illegal content with internet search engines. • The removal of safe harbour for active content platforms such asYouTube. • More transpa
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