1.
Album
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Album, is a collection of audio recordings issued as a single item on CD, record, audio tape, or another medium. Albums of recorded music were developed in the early 20th century, first as books of individual 78rpm records, vinyl LPs are still issued, though in the 21st century album sales have mostly focused on compact disc and MP3 formats. The audio cassette was a format used from the late 1970s through to the 1990s alongside vinyl, an album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places. Recording may take a few hours to years to complete, usually in several takes with different parts recorded separately. Recordings that are done in one take without overdubbing are termed live, the majority of studio recordings contain an abundance of editing, sound effects, voice adjustments, etc. With modern recording technology, musicians can be recorded in separate rooms or at times while listening to the other parts using headphones. Album covers and liner notes are used, and sometimes additional information is provided, such as analysis of the recording, historically, the term album was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of pieces of printed music from the early nineteenth century. Later, collections of related 78rpm records were bundled in book-like albums, the LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. It was adopted by the industry as a standard format for the album. Apart from relatively minor refinements and the important later addition of stereophonic sound capability, the term album had been carried forward from the early nineteenth century when it had been used for collections of short pieces of music. Later, collections of related 78rpm records were bundled in book-like albums, as part of a trend of shifting sales in the music industry, some commenters have declared that the early 21st century experienced the death of the album. Sometimes shorter albums are referred to as mini-albums or EPs, Albums such as Tubular Bells, Amarok, Hergest Ridge by Mike Oldfield, and Yess Close to the Edge, include fewer than four tracks. There are no rules against artists such as Pinhead Gunpowder referring to their own releases under thirty minutes as albums. These are known as box sets, material is stored on an album in sections termed tracks, normally 11 or 12 tracks. A music track is a song or instrumental recording. The term is associated with popular music where separate tracks are known as album tracks. When vinyl records were the medium for audio recordings a track could be identified visually from the grooves
2.
The Who
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The Who are an English rock band that formed in 1964. Their classic line-up consisted of lead singer Roger Daltrey, guitarist and singer Pete Townshend, bass guitarist John Entwistle, and drummer Keith Moon. They are considered one of the most influential bands of the 20th century, selling over 100 million records worldwide and holding a reputation for their live shows. The Who developed from a group, the Detours, and established themselves as part of the pop art and mod movements, featuring auto-destructive art by destroying guitars. Their first single as the Who, I Cant Explain, reached the UK top ten, followed by a string of singles including My Generation, Substitute and Happy Jack. In 1967, they performed at the Monterey Pop Festival and released the US top ten single I Can See for Miles, the groups fourth album, 1969s rock opera Tommy, included the single Pinball Wizard and was a critical and commercial success. Live appearances at Woodstock and the Isle of Wight Festival, along with the live album Live at Leeds, with their success came increased pressure on lead songwriter and visionary Townshend, and the follow-up to Tommy, Lifehouse, was abandoned. Songs from the project made up 1971s Whos Next, which included the hit Wont Get Fooled Again, the group released the album Quadrophenia in 1973 as a celebration of their mod roots, and oversaw the film adaptation of Tommy in 1975. They continued to tour to large audiences before semi-retiring from live performances at the end of 1976, the release of Who Are You in 1978 was overshadowed by the death of Moon shortly after. Kenney Jones replaced Moon and the group resumed activity, releasing a film adaptation of Quadrophenia, after Townshend became weary of touring, the group split in 1982. The Who occasionally re-formed for live appearances such as Live Aid in 1985, a 25th anniversary tour in 1989 and they resumed regular touring in 1999, with drummer Zak Starkey. After Entwistles death in 2002, plans for a new album were delayed, Townshend and Daltrey continued as the Who, releasing Endless Wire in 2006, and continued to play live regularly. They are cited as an influence by rock, punk rock and mod bands. The founding members of the Who, Roger Daltrey, Pete Townshend and John Entwistle, grew up in Acton, London and went to Acton County Grammar School. Townshend and Entwistle became friends in their year of Acton County. Both were interested in rock, and Townshend particularly admired Cliff Richards début single, Entwistle moved to guitar, but struggled with it due to his large fingers, and moved to bass on hearing the guitar work of Duane Eddy. He was unable to afford a bass and built one at home, after Acton County, Townshend attended Ealing Art College, a move he later described as profoundly influential on the course of the Who. Daltrey, who was in the year above, had moved to Acton from Shepherds Bush and he had trouble fitting in at the school, and discovered gangs and rock and roll
3.
Olympic Studios
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Olympic Studios is an early 20th-century building in Barnes, London, which, after four years of closure, re-opened on 14 October 2013 as the new home for the Olympic Studios cinema. As well as a cinema, the building includes a café and dining room, a members club. The studios sound mixing desks eventually became famous in their own right, the conversion from film to recording studio was undertaken by architect Robertson Grant and the acoustics completed by Keith Grant and Russel Pettinger. The studios won Music Week magazines award for best recording studio five times, after forty years and a succession of owners, the studios earlier facilities were closed by the EMI and Virgin Group in 2009. In keeping with its history, Olympics cinema is now also the only one in London employing a new form of state-of-the-art Flare Audio cinema sound. After its earliest days, the became a theatre briefly again in the 1920s, actors who played there included John Gielgud. Between the 1930s and the era, it returned to its original function as a cinema. In its first decade it was notable for being one of the associated with the bioscope. In the 1950s the building became television production studios, the first home of Olympic Sound Studios was in central London in the late 1950s, owned by Angus McKenzie, who had purchased Larry Lyons Olympia Studio in Fulham. McKenzie then took a lease on a synagogue building at Carton Street. In conjunction with Richard Swettenham, McKenzie opened Olympics Studio One with a recording console from Olympia Studio. The Studio first came to prominence in 1958, its senior engineer was John Timperley. In 1962 Terry Allen joined the company as an electronic engineer, John Timperleys assistant was Roger Savage, who quickly gained a reputation as a particularly good sound balancer. Terry Allen soon became manager and was instructed by Angus McKenzie to dismiss Timperley late in 1962. Keith Grant had worked at Olympic on a basis for some time. Dick Swettenham designed the first professional transistorised desk in the world, apart from Roger Savage, several other young staff gained their start at Olympic. Gus Dudgeon began as an operator and when he left Olympic became associated with Elton John. Another successful employee was Michael Ross-Trevor, who eventually joined CBS Records, Studio One was used by many influential British groups including The Yardbirds, The Jimi Hendrix Experience, Alexis Korner and Graham Bond
4.
Battersea
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Battersea is a largely residential inner-city district of south London in the London Borough of Wandsworth, England. It has Battersea Park, one of southwest Londons main parks, noted for the long-awaited bringing of the London Underground in the 21st century, two main railway lines cross here at what was the countrys busiest station. Elsewhere in Battersea are a growing proportion of private architecturally-acclaimed riverside, parkside, in 2001, Battersea had a population of 75,651 people. Landmarks include New Covent Garden Market and the Royal Academy of Dance, Wandsworth Common and Clapham Common border parts of this large district, which traditionally also includes Nine Elms. Railway stations in Battersea are in fare zone 2, Battersea is mentioned in Anglo-Saxon times as Badrices īeg = Badrics Island and later Patrisey. As with many former parishes beside major rivers some land was reclaimed by draining marshland, the original village nucleus is marked by St. Marys Church, which is on a site that has featured churches since the 9th century. The settlement appears in the Domesday Book as Patricesy, held by St Peters Abbey and its Domesday Assets were,18 hides and 17 ploughlands of cultivated land,7 mills worth £42 9s 8d per year,82 acres of meadow, woodland worth 50 hogs. The former parish of Battersea included, in a detached part, the borough dates from the London Government Act of 1899, and includes the greater part of the original ecclesiastical parish of St. Mary Battersea. Penge was a district, over which the tenants of Battersea Manor had common of pasture. At the end of the 18th century, above 300 acres of land in the parish of Battersea were occupied by some 20 market gardeners, who rented from five to near 60 acres each. Bridges erected across the Thames encouraged growth, Putney Bridge, a mile to the west, was built in 1729, inland from the river, the rural agricultural community persisted. Between these were numerous wharfs for shipping, in 1929, construction started on Battersea Power Station, being completed in 1939. Factories have been demolished and replaced with apartment buildings. Some of the council owned properties have been sold off and several working mens pubs have become more fashionable bistros. Battersea neighbourhoods close to the railway have some of the most deprived local authority housing in the Borough of Wandsworth, an area which saw condemned slums after their erection in the Victoria era. Battersea was radically altered by the coming of railways, over the next 22 years five other lines were built, across which all trains from Londons Waterloo and Victoria termini would as today travel. An interchange station was built in 1863 towards the north west of the area, taking the name of a fashionable village a mile and more away, the station was named Clapham Junction, a campaign to rename it Battersea Junction fizzled out as late as the early twentieth century. The area was served by a vast music hall – The Grand – opposite the station as well as a theatre next to the town hall
5.
Ronnie Lane's Mobile Studio
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Ronnie Lanes Mobile Studio, also known as LMS, is a mobile recording studio originally owned by Ronnie Lane. Lane acquired the studio in 1972, the studio was built by audio engineer Ron Nevison. After he left The Faces in 1973, Lane based the studio on his farm, Fishpool, in the hamlet of Hyssington, near Churchstoke, in Powys, there he used the studio to record his first solo album Anymore for Anymore. He also used the studio to record One for the Road, sold in 1982, since then it has been used exclusively with private clients. The studio underwent an overhaul in 2009, with the owners launching a vinyl label called LMS Vinyl. Eric Burdon, Darkness Darkness The Jackie Lynton Band, The Jackie Lynton Band Official website
6.
Rock music
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It has its roots in 1940s and 1950s rock and roll, itself heavily influenced by blues, rhythm and blues and country music. Rock music also drew strongly on a number of genres such as electric blues and folk. Musically, rock has centered on the guitar, usually as part of a rock group with electric bass guitar. Typically, rock is song-based music usually with a 4/4 time signature using a verse-chorus form, like pop music, lyrics often stress romantic love but also address a wide variety of other themes that are frequently social or political in emphasis. Punk was an influence into the 1980s on the subsequent development of subgenres, including new wave, post-punk. From the 1990s alternative rock began to rock music and break through into the mainstream in the form of grunge, Britpop. Similarly, 1970s punk culture spawned the visually distinctive goth and emo subcultures and this trio of instruments has often been complemented by the inclusion of other instruments, particularly keyboards such as the piano, Hammond organ and synthesizers. The basic rock instrumentation was adapted from the blues band instrumentation. A group of musicians performing rock music is termed a rock band or rock group, Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four. Melodies are often derived from older musical modes, including the Dorian and Mixolydian, harmonies range from the common triad to parallel fourths and fifths and dissonant harmonic progressions. Critics have stressed the eclecticism and stylistic diversity of rock, because of its complex history and tendency to borrow from other musical and cultural forms, it has been argued that it is impossible to bind rock music to a rigidly delineated musical definition. These themes were inherited from a variety of sources, including the Tin Pan Alley pop tradition, folk music and rhythm, as a result, it has been seen as articulating the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, rock and roll usually implies an identification of male sexuality, according to Simon Frith rock was something more than pop, something more than rock and roll. Rock musicians combined an emphasis on skill and technique with the concept of art as artistic expression, original. The foundations of music are in rock and roll, which originated in the United States during the late 1940s and early 1950s. Its immediate origins lay in a melding of various musical genres of the time, including rhythm and blues and gospel music, with country. In 1951, Cleveland, Ohio disc jockey Alan Freed began playing rhythm and blues music for a multi-racial audience, debate surrounds which record should be considered the first rock and roll record. Other artists with rock and roll hits included Chuck Berry, Bo Diddley, Fats Domino, Little Richard, Jerry Lee Lewis
7.
Hard rock
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Hard rock is a loosely defined subgenre of rock music that began in the mid-1960s, with the garage, psychedelic and blues rock movements. It is typified by a use of aggressive vocals, distorted electric guitars, bass guitar, drums. Hard rock developed into a form of popular music in the 1970s, with bands such as The Who, Led Zeppelin, Queen, Black Sabbath, Deep Purple, Aerosmith, AC/DC. During the 1980s, some rock bands moved away from their hard rock roots and more towards pop rock. Hard rock began losing popularity with the success of R&B, hip-hop, urban pop, grunge. Out of this movement came garage rock bands like The White Stripes, The Strokes, Interpol and, later on, in the 2000s, only a few hard rock bands from the 1970s and 1980s managed to sustain highly successful recording careers. Hard rock is a form of loud, aggressive rock music, the electric guitar is often emphasised, used with distortion and other effects, both as a rhythm instrument using repetitive riffs with a varying degree of complexity, and as a solo lead instrument. Drumming characteristically focuses on driving rhythms, strong drum and a backbeat on snare. The bass guitar works in conjunction with the drums, occasionally playing riffs, vocals are often growling, raspy, or involve screaming or wailing, sometimes in a high range, or even falsetto voice. In the late 1960s, the heavy metal was used interchangeably with hard rock. Heavy metal took on darker characteristics after Black Sabbaths breakthrough at the beginning of the 1970s, in the 1980s it developed a number of subgenres, often termed extreme metal, some of which were influenced by hardcore punk, and which further differentiated the two styles. Despite this differentiation, hard rock and heavy metal have existed side by side, with bands frequently standing on the boundary of, other antecedents include Link Wrays instrumental Rumble in 1958, and the surf rock instrumentals of Dick Dale, such as Lets Go Trippin and Misirlou. In the 1960s, American and British blues and rock bands began to rock and roll by adding harder sounds, heavier guitar riffs, bombastic drumming. From the late 1960s, it common to divide mainstream rock music that emerged from psychedelia into soft. Soft rock was often derived from rock, using acoustic instruments and putting more emphasis on melody. In contrast, hard rock was most often derived from rock and was played louder. Blues rock acts that pioneered the sound included Cream, The Jimi Hendrix Experience, Cream, in songs like I Feel Free combined blues rock with pop and psychedelia, particularly in the riffs and guitar solos of Eric Clapton. Jimi Hendrix produced a form of blues-influenced psychedelic rock, which combined elements of jazz, blues and rock, from 1967 Jeff Beck brought lead guitar to new heights of technical virtuosity and moved blues rock in the direction of heavy rock with his band, The Jeff Beck Group
8.
Progressive rock
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Progressive rock is a broad subgenre of rock music that developed in the United Kingdom and United States throughout the mid to late 1960s. Prog is based on fusions of styles, approaches and genres, Prog saw a high level of popularity in the early-to-mid 1970s, but faded soon after. Conventional wisdom holds that the rise of rock caused this. Music critics, who labelled the concepts as pretentious and the sounds as pompous and overblown. Early groups who exhibited progressive features are described as proto-prog. In 1967, progressive rock constituted a diversity of loosely associated style codes, the Canterbury scene, originating in the late 1960s, denoted a subset of prog bands who emphasised the use of wind instruments, complex chord changes and long improvisations. Rock in Opposition, from the late 1970s, was more avant-garde, in the 1980s, a new subgenre, neo-progressive rock, enjoyed some commercial success, although it was also accused of being derivative and lacking in innovation. Post-progressive draws upon newer developments in music and the avant-garde since the mid 1970s. The term progressive rock is synonymous with art rock, classical rock, historically, art rock has been used to describe at least two related, but distinct, types of rock music. Similarities between the two terms are that they describe a mostly British attempt to elevate rock music to new levels of artistic credibility. However, art rock is likely to have experimental or avant-garde influences. Prog was devised in the 1990s as a term, but later became a transferable adjective. Although a unidirectional English progressive style emerged in the late 1960s, by 1967, critics of the genre often limit its scope to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, and an obsessive dedication to technical skill. Author Kevin Holm-Hudson believes that rock is a style far more diverse than what is heard from its mainstream groups. They each do so largely unconsciously, academic John S. Cotner contests Macans view that progressive rock cannot exist without the continuous and overt assimilation of classical music into rock. Debate about the criteria and scope of the genre continues in the 2010s. In early references to the music, progressive was partly related to progressive politics, Cotner also says that progressive rock incorporates both formal and eclectic elements, It consists of a combination of factors – some of them intramusical, others extramusical or social. One way of conceptualising rock and roll in relation to music is that progressive music pushed the genre into greater complexity while retracing the roots of romantic
9.
MCA Records
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MCA Records was an American-based record company owned by MCA Inc. which later gave way to the larger MCA Music Entertainment Group, of which MCA Records was still part. MCAs country division, MCA Nashville, is an active imprint of Universal Music Group Nashville. MCA was forced to exit the talent agency business in order to complete the merger, as American Decca owned Universal Pictures, MCA assumed full ownership of Universal and made it into the top film studio in town, producing hit after hit. In 1966, MCA formed Uni Records and in 1967 purchased Kapp Records which was placed under Uni Records management. In 1937, the owner of Decca, E. R. Lewis, chose to split off the U. K. Decca company from the U. S. company, companies if the emerging hostilities of Nazi Germany should lead to war – correctly foreseeing World War II. Lewis sold the remainder of his U. S. Decca holdings when war did break out, MCAs U. S. -based Decca Records kept the rights to the Decca name in North and South America and parts of Asia including Japan. U. K. Decca owned the rights to the Decca name in the rest of the world, after the war, British Decca formed a new U. S. subsidiary, London Records. During this time U. S. Decca issued records outside North America on the Brunswick, in 1967, Brunswick and Coral were replaced by the MCA label to release U. S. Decca and Kapp label material outside North America. Initial activity as MCA Records was based in London and MCA Records UK was formally launched on February 16,1968. Among the early artists on the MCA label, around 1971, were groups Wishbone Ash, Osibisa, Stackridge and Budgie, early MCA releases were distributed by U. K. Decca but it moved to EMI in 1974. In 1979, distribution moved to CBS, while the last releases in the 1980s were self-distributed, as the U. S. division of MCA Records was not established until 1972, the earliest U. K. MCA Records material was released in the U. S. on either Kapp or Decca, Uni label material was issued on the Uni label worldwide. In 1970, MCA reorganized its Canadian record company Compo Company Ltd. into MCA Records, in April 1970, former Warner Bros. Records president Mike Maitland joined MCA and initially served as Deccas general manager. Maitland was unsuccessful in his attempt to consolidate Warner Bros. Records with co-owned Atlantic Records which led to his departure from Warner, the three labels maintained their identities for a short time but were retired in favor of the MCA label in 1973. Drift Away by Dobie Gray became the final Decca pop label release in the U. S in 1973. Beginning the same year the catalogs of Decca, Uni and Kapp were reissued in the U. S. on the MCA label under the supervision of veteran Decca producer Milt Gabler. The first MCA Records release in the U. S. was former Uni artist Elton Johns Crocodile Rock single in 1972, MCA label used a black with curved rainbow design until the late 1970s. This design was inspired by the U. S. Decca label of the 1960s
10.
Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as the person who creatively guides or directs the process of making a record, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously, all of these singers and musicians had to be assembled in a large studio and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu
11.
Kit Lambert
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Christopher Sebastian Kit Lambert was a British record producer, record label owner and the manager of The Who. Kit Lambert was the son of the composer Constant Lambert and part time actress and he was the grandson of George Washington Lambert, a sculptor and painter who was an official war artist for the Australian government at Gallipoli during World War I. His godfather was his fathers friend and fellow composer, William Walton and his godmother was Margot Fonteyn, the prima ballerina who danced for Constants company, the Royal Ballet, and with whom Constant had an affair causing him to leave Lamberts mother. Home life was difficult for Lambert who was sent to live with his grandmother at a young age, when he was 16, his father whom he hero worshipped, died at the age of 45. After studying history at Trinity College, Oxford, Lambert briefly served as an officer in the British Army, he was stationed in Hong Kong. After his service, in May 1961, he joined an expedition with two Oxford friends, Richard Mason and John Hemming, in an attempt to discover the source of the Iriri River in the Amazon, Lambert hoped to film the expedition as a documentary. On 3 September, Mason was killed by an uncontacted Amazon tribe known as the Panará while he was hunting for food. Soon after, he and Stamp decided to make a documentary that would show the life of a pop group. The band they chose was The High Numbers, after the band was turned down by EMI, Lambert and Stamp signed them up with Shel Talmy, who had produced The Kinks hits, and whose company had an output deal through Decca Records in the UK. Lambert eventually replaced Talmy as the producer in 1966, starting with Im a Boy. In 1968, they set up offices in New York and signed Labelle, whose first album Lambert produced, the label initially proved very lucrative for the duo but due to fiscal mismanagement and ongoing conflicts with The Who it soon fell into debt and was dissolved in 1978. Townshend has acknowledged that it was Lambert who influenced him to rock music and opera. Although The Who were international hitmakers by the late 60s, it wasnt until the release of Tommy in 1969 that the band became established both creatively and commercially. However, while The Who was struggling to articulate Townshends next concept, Lifehouse and this led to significant differences between Lambert and the group. After litigation was initiated for unpaid royalties, both Lambert and Stamp were fired in 1974 and replaced by Bill Curbishley, who manages the band. They officially ended their partnership with the two years later. On January 22,1977, The Who settled their lawsuit against Lambert, Townshend received a $1-million settlement of his U. S. copyrights to date and The Who gained rights to all their recordings from Substitute onwards. In the late 1970s, Lambert worked with early punk bands including producing a single for the group, Chelsea, under the pseudonym
12.
Meaty Beaty Big and Bouncy
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Meaty Beaty Big and Bouncy is a compilation album of singles by British rock band The Who, released in 1971 as Track 2406006 in the UK and as Decca DL79184 in the US. It entered the US Billboard 200 chart on 20 November 1971, peaking at number 11, in 1987, Rolling Stone ranked it number 99 on their list of the 100 best albums of the period 1967–1987. Happy Jack, I Can See for Miles, Magic Bus and it was compiled by Pete Townshend over objection by manager Kit Lambert, who tried to have the track order changed but failed because too many copies had already been pressed. The UK release was held up because The Who and Bill Curbishley had failed to clear it with Lambert. However, on 25 July 2007, Universal Japan re-released the album in a sleeve that includes the long alternate version of Magic Bus in fake stereo. The albums original title was The Who Looks Back, on the front cover the Who are looking at four children, one of whom is Who manager Bill Curbishleys younger brother Paul. The panoramic photograph on the albums cover is an exterior shot of the side of the Railway Hotel. The Railway Hotel was a hangout for Mods and soon after Keith Moon joined the band. It was here that Kit Lambert, their manager, first saw the band, in response to laughter from the crowd, he then smashed his guitar for the first time in public, a gimmick he maintained for many years when playing live. The band were filmed at the venue on 11 August – a copy of the recording turning up in 2002, the Railway Hotel was destroyed by fire in March 2000, after becoming empty and vandalised. The site is now occupied by two blocks of flats, named Moon House and Daltrey House after the band members, several songs on the album had previously been released on long-playing album. The Whos debut My Generation included the track, A Legal Matter. A Quick One included Boris the Spider and in its American configuration Happy Jack, I Can See for Miles appeared on The Who Sell Out, and Pinball Wizard on Tommy. Pictures of Lily and Magic Bus previously appeared on the US compilation album Magic Bus and that album features an alternate mix of the Im a Boy single recording, which appeared later in abbreviated form on the Limited Edition bonus disc to the Ultimate Collection compilation. Most of the tracks on this album would appear on many subsequent compilations of Who material. All tracks written by Pete Townshend except where noted
13.
Odds & Sods
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Odds & Sods is an album that consists of studio outtakes and rarities by British rock band The Who released by Track Records in the UK and Track/MCA in the US in 1974. I tried to arrange it like a sort of Who career - what singles we might have released and what album tracks we might have released. He and the producer of his albums, John Alcock. Two LPs of material were collected, but only one was released and it could have been a double album, there was that much material, Entwistle said at the time of the albums release. The material from the second unreleased LP was later included on the 1998 remastered CD version, Townshend wrote liner notes for the album which included frank opinions of the quality of the songs. The notes were omitted from some copies of the original LP, the album reached No.10 on the UK charts and No.8 in the US. In December 2011, Universal Japan issued the original mix for the album on CD with the songs reflecting the order of the original vinyl. The bonus tracks that were issued previously on the 1998 CD remix reissue were added after the running order of the album. These bonus tracks used the original analog mixes where possible rather than the remixes prepared for the 1998 expanded CD reissue, the reissue was remastered by Jon Astley. Little Billy was written by Townshend for the American Cancer Society, im the Face was The Whos first record release, when they were still performing as the High Numbers. Put the Money Down, Too Much of Anything and Pure, the mix of Under My Thumb on the 1998 remastered CD is a special stereo remix produced but not used for the Thirty Years of Maximum R&B box set that omits the original fuzzbox guitar part. The iTunes American Store lists this version Young Man Blues as an Alternate Studio Version and at the end Kit Lambert is heard to remark, No, the 2011 reissue featuring the original analog mixes has some different takes than the 1998 version. Young Man Blues is a different take than the 1998 remix, all songs written by Pete Townshend except where noted
14.
Single (music)
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In music, a single or record single is a type of release, typically a song recording of fewer tracks than an LP record, an album or an EP record. This can be released for sale to the public in a variety of different formats, in most cases, a single is a song that is released separately from an album, although it usually also appears on an album. Typically, these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular, in other cases a recording released as a single may not appear on an album. As digital downloading and audio streaming have become prevalent, it is often possible for every track on an album to also be available separately. Nevertheless, the concept of a single for an album has been retained as an identification of a heavily promoted or more popular song within an album collection. Despite being referred to as a single, singles can include up to as many as three tracks on them. The biggest digital music distributor, iTunes, accepts as many as three tracks less than ten minutes each as a single, as well as popular music player Spotify also following in this trend. Any more than three tracks on a release or longer than thirty minutes in total running time is either an Extended Play or if over six tracks long. The basic specifications of the single were made in the late 19th century. Gramophone discs were manufactured with a range of speeds and in several sizes. By about 1910, however, the 10-inch,78 rpm shellac disc had become the most commonly used format, the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century.26 rpm. With these factors applied to the 10-inch format, songwriters and performers increasingly tailored their output to fit the new medium, the breakthrough came with Bob Dylans Like a Rolling Stone. Singles have been issued in various formats, including 7-inch, 10-inch, other, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc. Some artist release singles on records, a more common in musical subcultures. The most common form of the single is the 45 or 7-inch. The names are derived from its speed,45 rpm. The 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable, the first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s
15.
Water (The Who song)
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5,15 is a song written by Pete Townshend of British rock band The Who. Part of the second rock opera, Quadrophenia, the song was also released as a single and reached No.20 on the UK Singles Chart. Although written as 5.15 on the cover, on the back cover of Quadrophenia it is written as 5,15. The lyrics of 5,15 describe Quadrophenias protagonist, Jimmy and he goes through a not entirely pleasant series of ups and downs as he thinks about the gaudier side of life as a teenager that we see in newspapers like the News Of The World. 5,15 was written in Oxford Street and Carnaby Street while I was killing time between appointments, I must try it again sometime, it seems to work. No demo recording of the song exists, as the track was written in the studio on the day the song was recorded. The whistle heard on the track was recorded after Townshends driver bribed a British train driver with five pounds to sound the whistle as it pulled out. 5,15 was released as a single in Britain and Europe shortly before the release of Quadrophenia in October 1973, backed with the Lifehouse outtake Water, the single charted at #20 in Britain and #46 in Germany. The single was not released in America, where Love, Reign oer Me, roger Daltrey later commented on the songs single release, Really, it was the only single on Quadrophenia we could have released. The 7-inch vinyl single mix differs from the wider soundscape of the mix and appears as a narrower closed stereo, however. This particular mix is not available on CD, all compilations making claim to the single mix have used the album mix version and cut to a variety of different running time lengths plus or minus a few seconds. Water, the B-side, is a track recorded during the April-May 1970 sessions at I. B. C. and Eel Pie Studios, jimmys memories are extremely disjointed, consisting mainly of anger, confusion, violence, sexual frustration, and rootlessness. Jimmy was born in the war and does not understand why he should care about it in the context of his extravagant Mod values. In 1979,5,15 and nine tracks from Quadrophenia were remixed by John Entwistle for the soundtrack of the film adaptation of the original rock opera. This version of 5,15 was released as a single in September 1979 to promote the album, live performances of 5,15 included, in addition to the Whos four members, a full brass section and a piano. During the Who reunion tour from 1999 to 2002, bassist John Entwistle played a solo in mid-song, lasting several minutes, only accompanied by drummer Zak Starkey
16.
Love, Reign o'er Me
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Love, Reign oer Me, subtitled Petes Theme, is a song by English rock band The Who. Written and composed by guitarist and songwriter Pete Townshend, it was released on 27 October 1973 as the single from the bands sixth studio album and second rock opera. It is the song on the album, and has been a concert staple for years. The song peaked at number 76 on the Billboard Hot 100, Love, Reign oer Me, along with Is It in My Head. Both songs were intended to be part of the unreleased autobiographical album. Love, Reign oer Me concerns the character of Quadrophenia, Jimmy. With nothing left to live for, he finds a spiritual redemption in pouring rain, as Townshend described the song, refers to Meher Babas one time comment that rain was a blessing from God, that thunder was Gods Voice. Its another plea to drown, only time in the rain. Jimmy goes through a suicide crisis, hes weak still, but theres a strength in that weakness. Love, Reign oer Me was released as a 7 single, the single was released with a B-side titled Water. The song peaked at number 76 on the Billboard Hot 100, outside the US, the single was released in Belgium and the Netherlands. The song was featured in the 1979 film based on the Quadrophenia album as well as the soundtrack album. The version included on the features an added flute and string arrangement. The rain sounds have also been removed, the song served as inspiration for the title of the 2007 film Reign Over Me, and it was also featured extensively throughout the film. Love, Reign oer Me was first performed live on the Whos Quadrophenia tour in 1973 and 1974 and it was returned to the bands setlist for the 1982 farewell tour of North America. The band performed it again at its performance at Bob Geldofs Live Aid concert at Wembley Stadium in London, England on 13 July 1985. When the Who performed Quadrophenia in its entirety in the summer of 1996, Live performances of Love, Reign oer Me can be found on the live albums Whos Last, Greatest Hits Live and Join Together. 7 Vinyl Love, Reign oer Me -3,07 Water -4,397 Vinyl Love, Reign oer Me -3,07 Is It in My Head
17.
The Real Me (The Who song)
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The Real Me is a song written by Pete Townshend on The Whos second full-scale rock opera, Quadrophenia in 1973. This is the track on the album, although it is the first with lyrics. It concerns a boy named Jimmy, a young English Mod with four distinct personalities, the song describes how he angrily deals with several individuals to identify the real me. The song features a virtuoso performance by John Entwistle. According to a 1996 interview with Entwistle by Goldmine Magazine, the part was recorded on the first take. Entwistle claimed he was joking around when he played the part, aside from the verses about the psychiatrist, mother and preacher, Townshends original demo of the song on his solo album Scoop 3 includes another verse about rock and roll in general. The arrangement of the song is much slower than what it would end up as in Quadrophenia. Townshend has always referred to it as Can You See the Real Me and it was not played again until the 1979 tour, where it frequently used to close concerts. It remained a fixture of The Whos concerts until 1981, and was played on their 1989 reunion tour. It was included in concert of the 1996-1997 tour, on which Quadrophenia was played in its entirety. The Who continued to play the song until John Entwistles death in 2002, the most recent performance of the song by was on the 2012-2013 Quadrophenia and More tour, which again featured the entire album. The band have known to stretch the song out with an extended instrumental jam. A notable example occurred at the Rainbow Theatre in London on February 3,1981 and these extended jams have become far less frequent since Entwistles death. The Real Me was featured in the 1979 movie based on Quadrophenia as well as its album, with a new bass track. It was also featured on the 2002 Who compilation The Ultimate Collection, with a modified opening. A. S. P. in 1989. The song was a hit in Britain and reached no,23, on the UK Singles chart. An accompanying video was made and released. It was also covered by Pearl Jam during The Who Tribute on VH1 in 2008, in August 2009, Pearl Jam performed the song at the Shepherds Bush Empire, with Simon Townshend on guitar
18.
Mod (subculture)
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Mod is a subculture that began in the United Kingdom in the 1960s and spread, in varying degrees, to other countries and continues today on a smaller scale. Significant elements of the mod subculture include fashion, music, the original mod scene was associated with amphetamine-fuelled all-night dancing at clubs. In England during the early to mid 1960s, mods often engaged in brawls with rockers, in the mid-to-late 1960s, the conflicts between mods and rockers subsided, as several rock bands, including The Who and the Small Faces adopted a mod style. London became synonymous with fashion, music, and pop culture in these years, a period often referred to as Swinging London. There was a mod revival in the United Kingdom in the late 1970s, which was followed by a mod revival in North America in the early 1980s, particularly in southern California, Vancouver, and Toronto. The term mod derives from modernist, a used in the 1950s to describe modern jazz musicians and fans. This usage contrasted with the term trad, which described traditional jazz players, the 1959 novel Absolute Beginners describes modernists as young modern jazz fans who dress in sharp modern Italian clothes. The novel may be one of the earliest examples of the term being written to describe young British style-conscious modern jazz fans and this usage of the word modernist should not be confused with modernism in the context of literature, art, design and architecture. From the mid-to-late 1960s onwards, the media often used the term mod in a wider sense to describe anything that was believed to be popular. Paul Jobling and David Crowley argue that the definition of mod can be difficult to pin down, because throughout the original era. They claim that since the mod scene was so pluralist, the mod was an umbrella term that covered several distinct sub-scenes. Early mods watched French and Italian art films and read Italian magazines to look for style ideas, while clothes were still important at that time, they could be ready-made. Mary Anne Long argues that first hand accounts and contemporary theorists point to the Jewish upper-working or middle-class of London’s East End and suburbs. Simon Frith asserts that the mod subculture had its roots in the 1950s beatnik coffee bar culture, sparks argues that Mod has been much misunderstood. As this working-class, scooter-riding precursor of skinheads, coffee bars were attractive to British youths because, in contrast to typical pubs, which closed at about 11pm, they were open until the early hours of the morning. Coffee bars had jukeboxes, which in some cases reserved space in the machines for the customers own records, in the late 1950s, coffee bars were associated with jazz and blues, but in the early 1960s, they began playing more R&B music. Frith notes that although coffee bars were originally aimed at art school students, they began to facilitate an intermixing of youths from different backgrounds. Violent clashes would often ensue between the two groups and this period was later immortalized by songwriter Pete Townshend, in the Whos 1973 concept album, Quadrophenia
19.
Brighton
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Brighton /ˈbraɪtən/ is a seaside resort on the south coast of England. It is part of the county of East Sussex, within the historic county of Sussex. Archaeological evidence of settlement in the dates back to the Bronze Age, Roman. The ancient settlement of Brighthelmstone was documented in the Domesday Book, Brighton began to attract more visitors following improved road transport to London and becoming a boarding point for boats travelling to France. The town also developed in popularity as a resort for sea bathing as a purported cure for illnesses. Brighton continued to grow as a centre of tourism following the arrival of the railways in 1841. Many of the attractions were built in the Victorian era, including the Grand Hotel, the West Pier. Brighton attracted 7.5 million day visitors in 2015/16 and 4.9 million overnight visitors, Brighton has also been called the UKs hippest city, and the happiest place to live in the UK. Brightons earliest name was Bristelmestune, recorded in the Domesday Book, although more than 40 variations have been documented, Brighthelmstone was the standard rendering between the 14th and 18th centuries. Brighton was originally a shortened form, first seen in 1660, it gradually supplanted the longer name. Brighthelmstone was the official name until 1810, though. The name is of Anglo-Saxon origin, most scholars believe that it derives from Beorthelm + tūn—the homestead of Beorthelm, a common Old English name associated with villages elsewhere in England. The tūn element is common in Sussex, especially on the coast, an alternative etymology taken from the Old English words for stony valley is sometimes given but has less acceptance. Brighthelm gives its name to, among other things, a church, the town was originally split in half by the Wellesbourne, a winterbourne which was culverted and buried in the 18th century. Poet Horace Smith called it The Queen of Watering Places, which is widely used. Novelist William Makepeace Thackeray referred to Doctor Brighton, calling the one of the best of Physicians. London-by-Sea is well-known, reflecting Brightons popularity with Londoners as a resort, a commuter dormitory. The Queen of Slaughtering Places, a pun on Smiths description, the mid 19th-century nickname School Town referred to the remarkable number of boarding, charity and church schools in the town at the time
20.
Pete Townshend
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His career with the Who spans over 50 years, during which time the band grew to be considered one of the most influential bands of the 20th century. He has also more than 100 songs that have appeared on his solo albums, as well as radio jingles. He is self-taught on all of the instruments he plays and has never had any formal training, due to his aggressive playing style and innovative songwriting techniques, Townshends works with The Who and in other projects have earned him critical acclaim. He and Daltrey received The George and Ira Gershwin Award for Lifetime Musical Achievement at UCLA on 21 May 2016, Peter Dennis Blandford Townshend was born on 19 May 1945, at Chiswick Hospital, West London. The Townshends had a marriage, as both drank heavily and possessed fiery tempers. Cliff Townshend was often away from his touring with his band while Betty carried on affairs with other men. The two split when Townshend was a toddler and he was sent to live with his maternal grandmother Emma Dennis, whom Pete later described as clinically insane. The two-year separation ended when Cliff and Betty purchased a house together on Woodgrange Avenue in middle-class Acton, London, Townshend says he did not have many friends growing up, so he spent much of his boyhood reading adventure novels like Gullivers Travels and Treasure Island. He enjoyed his familys frequent excursions to the seaside and the Isle of Man and it was on one of these trips in the summer of 1956 that he repeatedly watched the 1956 film Rock Around the Clock, sparking his fascination with American rock and roll. Not long thereafter, he went to see Bill Haley perform in London, at the time, he did not see himself pursuing a career as a professional musician, instead, he wanted to become a journalist. Upon passing the exam, Townshend was enrolled at Acton County Grammar School. At Acton County, he was bullied because he had a large nose. His grandmother Emma purchased his first guitar for Christmas in 1956, though his father taught him a couple of chords, Townshend was largely self-taught on the instrument and never learned to read music. Townshend and school friend John Entwistle formed a trad jazz group. The Confederates played gigs at the Congo Club, a club run by the Acton Congregational Church, and covered Acker Bilk, Kenny Ball. However, both influenced by the increasing popularity of rock n roll, with Townshend particularly admiring Cliff Richards debut single. Townshend left the Confederates after getting into a fight with the drummer, Chris Sherwin. Townshends brothers Paul and Simon were born in 1957 and 1960, lacking the requisite test scores to attend university, Pete was faced with the decision of art school, music school, or getting a job
21.
Tommy (album)
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Tommy is the fourth studio album by the English rock band The Who, a double album first released in May 1969. Townshend came up with the concept of Tommy after being introduced to the work of Meher Baba, recording on the album began in September 1968, but took six months to complete as material needed to be arranged and re-recorded in the studio. Tommy was acclaimed upon its release by critics, who hailed it as the Whos breakthrough and its critical standing diminished slightly in later years, nonetheless, several writers view it as an important and influential album in the history of rock music. The Who promoted the release with an extensive tour, including a live version of Tommy. Key gigs from the tour included appearances at Woodstock, the 1969 Isle of Wight Festival, the University of Leeds, the Metropolitan Opera House, the live performances of Tommy drew critical praise and rejuvenated the bands career. Subsequently, the opera developed into other media, including a Seattle Opera production in 1971, an orchestral version by Lou Reizner in 1972, a film in 1975. The original album has sold 20 million copies and has been inducted into the Grammy Hall of Fame, Tommy has never had a definitive plot, but the following synopsis was published following the original albums release. British Army Captain Walker goes missing during an expedition and is believed dead and his widow, Mrs. Walker, gives birth to their son, Tommy. Years later, Captain Walker returns home and discovers that his wife has found a new lover, the Captain murders this man in an altercation as Tommy watches. Tommys mother convinces him that he did not see or hear the incident and must never tell anyone about it, as a result, he becomes deaf, dumb, Tommy now relies on his sense of touch and imagination, developing a fascinating inner psyche. A quack claims his wife can cure Tommy, while Tommys parents are increasingly frustrated that he never find religion in the midst of his isolation. They begin to neglect him, leaving him to be tortured by his sadistic Cousin Kevin, the Hawkers drug addicted wife, The Acid Queen, gives Tommy a dose of LSD, causing a hallucinogenic experience that is expressed musically. As Tommy grows older, he discovers that he can feel vibrations sufficiently well to become an expert pinball player and his parents take him to a respected doctor, who determines that the boys disabilities are psychosomatic rather than physical. Tommy is told by the Doctor to Go to the Mirror. after seeing Tommy spend extended periods staring at a mirror in the house, his mother smashes it out of frustration. This removes Tommys mental block, and he recovers his senses and he starts a religious movement, which generates fervor among its adherents and expands into a holiday camp. However, Tommys followers ultimately reject his teachings and leave the camp, Tommy retreats inward again with his continuing statement of wonder at that which encompasses him. Townshend had been looking at way of progressing beyond the three minute pop single format since 1966. Co-manager Kit Lambert shared Townshends views and encouraged him to develop musical ideas, the first use of the term was applied to a suite called Quads, set in a future where parents could choose the sex of their children
22.
Who's Next
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Whos Next is the fifth studio album by English rock band The Who. It developed from the aborted Lifehouse project, a rock opera written by the groups Pete Townshend as a follow-up to the bands 1969 album Tommy. The project was cancelled due to its complexity and conflicts with Kit Lambert, the bands manager, the Who recorded Whos Next with assistance from recording engineer Glyn Johns. After producing the song Wont Get Fooled Again in the Rolling Stones Mobile Studio, they relocated to Olympic Studios to record and they made prominent use of the synthesizer on the album, particularly on Wont Get Fooled Again and Baba ORiley, which were both released as singles. Whos Next was a success when it was released in August 1971. It has since been viewed by critics as the Whos best record and it was reissued on CD several times with additional songs originally intended for Lifehouse. By 1970, the Who had obtained significant critical and commercial success, the mod movement had vanished, and the original followers from Shepherds Bush had grown up and acquired jobs and families. The group had started to drift apart from manager Kit Lambert due to his preoccupation with their label, instead, the group tackled a project called Lifehouse. This evolved from a series of columns Townshend wrote for Melody Maker in August 1970, in which he discussed the importance of rock music, and in particular what the audience could do. Of all the group, he was the most keen to use music as a communication device, Townshend has variously described Lifehouse as a futuristic rock opera, a live-recorded concept album and as the music for a scripted film project. The basic plot was outlined in an interview Townshend gave to Disc, Lifehouse is set in the near future in a society in which music is banned and most of the population live indoors in government-controlled experience suits. A rebel, Bobby, broadcasts rock music into the suits, allowing people to remove them, some elements accurately describe future technology, for example, The Grid resembles the internet and grid sleep virtual reality. After Keith Moon had completed his work on the film 200 Motels, after the initial concerts, the group flew to New Yorks Record Plant Studios at Lamberts suggestion, for studio recordings. The group were joined by guests Al Kooper on Hammond organ, Ken Ascher on piano, Townshend used a 1957 Gretsch guitar, given to him by Joe Walsh, during the session and it went on to become his main guitar for studio recording. Lamberts participation in the recording was minimal, and he proved to be unable to mix the final recordings and he had started taking hard drugs, while Townshend was drinking brandy regularly. After returning to Britain, engineer Glyn Johns made safety copies of the Record Plant material, the project proved to be intractable on several levels and caused stress within the band as well as a major falling out between Townshend and Lambert. Years later, in the notes to the remastered CD. Audiences at the Young Vic gigs were not interested in interacting with the group to new material
23.
John Entwistle
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John Alec Entwistle was an English singer, songwriter, composer, musician, film and music producer. In a music career spanned more than 40 years, Entwistle was best known as the original bass guitarist for the English rock band the Who. He was the member of the band to have formal musical training. He was inducted into the Rock and Roll Hall of Fame as a member of the Who in 1990, Entwistles instrumental approach used pentatonic lead lines, and a then-unusual treble-rich sound created by roundwound RotoSound steel bass strings. He was nicknamed The Ox and Thunderfingers, the latter because his digits became a blur across the four-string fretboard, in 2011, he was voted as the greatest bass guitarist of all time in a Rolling Stone magazine readers poll. John Alec Entwistle was born on 9 October 1944 in Chiswick and his father, Herbert, played the trumpet and his mother, Maud, played the piano. His parents marriage failed soon after he was born, and he was raised by his mother at his grandparents house in South Acton. Divorce was uncommon in the 1940s, and this contributed to Entwistle becoming reserved and his musical career began aged 7, when he started taking piano lessons. He did not enjoy the experience and after joining Acton County Grammar School aged 11, switched to the trumpet and he met Pete Townshend in the second year of school, and the two formed a trad jazz band, the Confederates. The group only played one gig together, before decided that rock n roll was a more attractive prospect. He made his own instrument at home, and soon attracted the attention of Roger Daltrey, who had been the year above Entwistle at Acton County, Daltrey was aware of Entwistle from school, and asked him to join as a bass guitarist for his band, the Detours. After joining the Detours, Entwistle played a role in encouraging Pete Townshends budding talent on the guitar. Eventually, Roger Daltrey fired all the members of his band with the exception of Entwistle, Townshend and the drummer, Doug Sandom, Roger Daltrey relinquished the role of guitarist to Pete Townshend in 1963, instead becoming frontman and lead singer. The band considered several changes of name, and finally settling on the name the Who while Entwistle was still working as a tax clerk. When the band decided that the blond Roger Daltrey needed to stand out more from the others, Entwistle dyed his naturally brown hair black. Around 1963, Entwistle played in a London band called the Initials for a short while and it also housed one of the largest guitar collections belonging to any rock musician. Entwistle picked up two nicknames during his career as a musician and he was nicknamed The Ox because of his strong constitution and seeming ability to Eat, drink or do more than the rest of them. He was also later nicknamed Thunderfingers, bill Wyman, bass guitarist for the Rolling Stones, described him as the quietest man in private but the loudest man on stage
24.
Roger Daltrey
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Roger Harry Daltrey, CBE is an English singer and actor. Daltrey began his career in 1973, while still a member of the Who. Since then, he has released eight albums, five compilation albums. His solo hits include Giving It All Away, Walking the Dog, Written on the Wind, Free Me, Without Your Love, Walking in My Sleep, After the Fire, and Under a Raging Moon. In 2010, he was ranked as number 61 on Rolling Stones list of the 100 greatest singers of all time, Daltrey has been known as one of the most charismatic of rocks frontmen and famed for his powerful voice and energetic stage presence. As a member of the Who, Daltrey received a Lifetime Achievement Award from the British Phonographic Industry in 1988 and he was inducted into the Rock and Roll Hall of Fame in 1990 and the UK Music Hall of Fame in 2005. The Who are considered one of the most influential bands of the 20th century. He and Pete Townshend received The George and Ira Gershwin Award for Lifetime Musical Achievement at UCLA on 21 May 2016, Daltrey has also been an actor and film producer, with roles in films, theatre, and television. Roger Harry Daltrey was born on 1 March 1944, in Hammersmith Hospital, East Acton, London, England, Daltreys father fought in World War II at the time, and came home a few years later. He was brought up in Acton, the working class suburban district that produced fellow Who members Pete Townshend. Daltrey attended Victoria Primary School and then Acton County Grammar School for Boys and girls along with Townshend and Entwistle. He showed academic promise in the English state school system, ranking at the top of his class on the examination that led to his enrolment at the Acton County Grammar School. He made his first guitar from a block of wood, a cherry red Stratocaster replica and they told him that he had to bring a guitar, and within a few weeks he showed up with it, and he could play it too. When his father bought him an Epiphone guitar in 1959, he became the lead guitarist for the band, describing the post-war times, Townshend wrote in his autobiography, until he was expelled Roger had been a good pupil. Daltrey became a metal worker during the day, while practising, and performing nights with the band at weddings, pubs. He invited schoolmate Entwistle to play guitar in the band. At that time, the also had Doug Sandom on drums. After Dawson left the band, Daltrey switched to lead vocals, in 1964, drummer Sandom left the band, eventually being replaced by Keith Moon
25.
Keith Moon
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Keith John Moon was an English drummer who played with the English rock band the Who. He was noted for his style and his eccentric, often self-destructive behaviour. His drumming continues to be praised by critics and musicians, Moon grew up in Alperton, a suburb of Wembley, in Middlesex, and took up the drums during the early 1960s. After playing with a band, the Beachcombers, he joined the Who in 1964 before they recorded their first single. Moon remained with the band during their rise to fame, and was recognised for his drumming style, which emphasised tom-toms, cymbal crashes. He occasionally collaborated with musicians and later appeared in films. In addition to his talent as a drummer, however, Moon developed a reputation for smashing his kit on stage and he was fascinated by blowing up toilets with cherry bombs or dynamite, and by destroying television sets. Moon enjoyed touring and socialising, and was bored and restless when the Who were inactive and his 21st birthday party in Flint, Michigan, has been cited as a notorious example of decadent behaviour by rock groups. Moon suffered a number of setbacks during the 1970s, most notably the death of chauffeur Neil Boland. He became addicted to alcohol, particularly brandy and champagne, and acquired a reputation for decadence and dark humour, after moving to Los Angeles with personal assistant Peter Dougal Butler during the mid-1970s, Moon recorded his only solo album, the poorly received Two Sides of the Moon. While touring with the Who, on occasions he passed out on stage and was hospitalised. By their final tour with him in 1976, and particularly during production of The Kids Are Alright and Who Are You, the drummers deterioration was evident. Moon moved back to London in 1978, dying in September of that year from an overdose of Heminevrin, Keith John Moon was born to Alfred Charles and Kathleen Winifred Moon on 23 August 1946 at Central Middlesex Hospital in northwest London, and grew up in Wembley. He was hyperactive as a boy, with a restless imagination, Moon attended Alperton Secondary Modern School after failing his eleven plus exam, which precluded his attending a grammar school. His art teacher said in a report, Retarded artistically and his music teacher wrote that Moon has great ability, but must guard against a tendency to show off. Moon joined his local Sea Cadet Corps band at the age of twelve on the bugle and he was interested in practical jokes and home science kits, with a particular fondness for explosions. On his way home from school, Moon would often go to Macaris Music Studio on Ealing Road to practise on the drums there and he left school at age fourteen, around Easter in 1961. Moon then enrolled at Harrow Technical College, this led to a job as a radio repairman, Moon took lessons from one of the loudest contemporary drummers, Screaming Lord Sutchs Carlo Little, at ten shillings per lesson
26.
Synthesizer
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A synthesizer is an electronic musical instrument that generates electric signals that are converted to sound through instrument amplifiers and loudspeakers or headphones. Synthesizers may either imitate instruments like piano, Hammond organ, flute, vocals, natural sounds like ocean waves, etc. or generate new electronic timbres. Synthesizers without built-in controllers are called sound modules, and are controlled via USB, MIDI or CV/gate using a controller device. Synthesizers use various methods to generate electronic signals, synthesizers were first used in pop music in the 1960s. In the 1970s, synths were used in disco, especially in the late 1970s, in the 1980s, the invention of the relatively inexpensive, mass market Yamaha DX7 synth made synthesizers widely available. 1980s pop and dance music often made use of synthesizers. In the 2010s, synthesizers are used in genres of pop, rock. Contemporary classical music composers from the 20th and 21st century write compositions for synthesizer, the beginnings of the synthesizer are difficult to trace, as it is difficult to draw a distinction between synthesizers and some early electric or electronic musical instruments. One of the earliest electric musical instruments, the telegraph, was invented in 1876 by American electrical engineer Elisha Gray. He accidentally discovered the sound generation from a self-vibrating electromechanical circuit and this musical telegraph used steel reeds with oscillations created by electromagnets transmitted over a telegraph line. Gray also built a simple loudspeaker device into later models, consisting of a diaphragm in a magnetic field. This instrument was a remote electromechanical musical instrument that used telegraphy, though it lacked an arbitrary sound-synthesis function, some have erroneously called it the first synthesizer. In 1897, Thaddeus Cahill invented the Teleharmonium, which used dynamos, and was capable of additive synthesis like the Hammond organ, however, Cahills business was unsuccessful for various reasons, and similar but more compact instruments were subsequently developed, such as electronic and tonewheel organs. In 1906, American engineer, Lee De Forest ushered in the electronics age and he invented the first amplifying vacuum tube, called the Audion tube. This led to new entertainment technologies, including radio and sound films, ondes Martenot and Trautonium were continuously developed for several decades, finally developing qualities similar to later synthesizers. In the 1920s, Arseny Avraamov developed various systems of graphic sonic art, in 1938, USSR engineer Yevgeny Murzin designed a compositional tool called ANS, one of the earliest real-time additive synthesizers using optoelectronics. The earliest polyphonic synthesizers were developed in Germany and the United States, during the three years that Hammond manufactured this model,1,069 units were shipped, but production was discontinued at the start of World War II. Both instruments were the forerunners of the electronic organs and polyphonic synthesizers
27.
Sound effect
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In motion picture and television production, a sound effect is a sound recorded and presented to make a specific storytelling or creative point without the use of dialogue or music. The term often refers to a process applied to a recording, in professional motion picture and television production, dialogue, music, and sound effects recordings are treated as separate elements. Dialogue and music recordings are never referred to as sound effects, even though the processes applied to such as reverberation or flanging effects, the term sound effect ranges back to the early days of radio. In its Year Book 1931 the BBC published an article about The Use of Sound Effects. It considers sounds effect deeply linked with broadcasting and states, It would be a mistake to think of them as anologous to punctuation marks. They should never be inserted into an already existing. The author of a broadcast play or broadcast construction ought to have used Sound Effects as bricks with which to build, treating them as of value with speech. If it fails to do so its presence could not be justified, the sound of people talking in the background is also considered a BG, but only if the speaker is unintelligible and the language is unrecognizable. These background noises are also called ambience or atmos, Foley sound effects are sounds that synchronize on screen, and require the expertise of a foley artist to record properly. Footsteps, the movement of hand props, and the rustling of cloth are common foley units, design sound effects are sounds that do not normally occur in nature, or are impossible to record in nature. These sounds are used to suggest futuristic technology in a fiction film. Each of these sound effect categories is specialized, with sound editors known as specialists in an area of sound effects, Foley is another method of adding sound effects. With this technique the action onscreen is essentially recreated to try to match it as closely as possible, if done correctly it is very hard for audiences to tell what sounds were added and what sounds were originally recorded. In the early days of film and radio, foley artists would add sounds in realtime or pre-recorded sound effects would be played back from analogue discs in realtime. Today, with effects held in digital format, it is easy to any required sequence to be played in any desired timeline. In the days of silent film, sound effects were added by the operator of an organ or photoplayer. Theater organ sound effects are usually electric or electro-pneumatic, and activated by a button pressed with the hand or foot, photoplayer operators activate sound effects either by flipping switches on the machine or pulling cow-tail pull-strings, which hang above. Sounds like bells and drums are made mechanically, sirens and horns electronically, due to its smaller size, a photoplayer usually has less special effects than a theater organ, or less complex ones
28.
Mod revival
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The mod revival was a music genre and subculture that started in England in 1978 and later spread to other countries. The mod revivals mainstream popularity was short, although its influence has lasted for decades. The mod revival post-dated a Teddy Boy revival, and mod revivalists sometimes clashed with Teddy Boy revivalists, skinhead revivalists, casuals, punks and rival gang members. The late 1970s mod revival was led by the band The Jam, the mod revival was a conscious effort to harken back to an earlier generation in terms of style. In the early 1980s in the UK, a mod revival scene influenced by the original 1960s mod subculture developed. The revival was spurred on by the band The Jam. Their debut album In the City, mixed R&B standards with originals modelled on The Whos early singles and they confirmed their status as the leading mod revival band with their third album All Mod Cons, on which Paul Wellers song-writing drew heavily on the British-focused narratives of the Kinks. In 1979, the film Quadrophenia, which romanticised the original 1960s mod subculture, widened the impact, the original mod revival fanzine, Maximum Speed started in 1979 and spawned other home-produced fanzines from then until the mid-to-late 1980s. These acts managed to develop cult followings and some had pop hits, more RnB based bands such as The Little Roosters, The Inmates, Nine Below Zero also became key acts in the growing mod revival scene in London. Other Another British tradition that returned at the time was the penchant for members of youth subcultures to go to seaside resorts on bank holidays. This originated in the early 1960s with the mods and rockers fighting each other at such as Brighton. The phenomenon returned in 1969 through to 1970 with skinheads fighting Teddy boys, in 1977 it returned yet again, with punks fighting Teddy Boys at Margate, and revival skinheads fighting Teddy boys, bikers and rockers at Southend and Margate. In 1979 and 1980, the resorts became major battlegrounds on bank holidays for young skinheads and mods together against Teddy boys, some of the main resorts involved were Margate, Brighton, Southend, Clacton, Hastings and Scarborough. Paul Weller broke up The Jam in 1982 and formed The Style Council, in the mid-1980s, there was a brief mod revival centered on bands such as The Prisoners, Makin Time and the Gents. Another main player in the 1980s UK mod revival was Eddie Piller, the UK mod revival was followed by a mod revival in North America in the early 1980s, particularly in Southern California, led by bands such as The Untouchables. Led the mod revival releasing their first album Mudança de comportamento in 1985 on the WEA label and their 1986 followup Vivendo e não aprendendo further established them as leaders of the mod revival in Brazil. They quickly achieved Gold Album status in sales of Vivendo e não aprendendo, bands associated with Britpop in the mid-1990s often championed aspects of Mod culture. A number of 1970s mod revival bands have reunited in recent years to play concerts, including Secret Affair, the Chords and the Purple Hearts
29.
Quadrophenia (film)
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Quadrophenia is a 1979 British drama film, loosely based on the 1973 rock opera of the same name by The Who. It was directed by Franc Roddam in his feature directing début, unlike the adaptation of Tommy, Quadrophenia is not a musical film, and the band does not appear live in the film. The film, set in 1964, follows the life of Jimmy Cooper, one of the Mods rivals, the Rockers, is in fact Jimmys childhood friend, Kevin. An attack by hostile Rockers on Spider leads to an attack on Kevin. Jimmy participates in the beating, but when he realises the victim is Kevin, he doesnt help him, a bank holiday weekend provides the excuse for the rivalry between Mods and Rockers to come to a head, as they both descend upon the seaside town of Brighton. A series of running battles ensues, as the police close in on the rioters, Jimmy escapes down an alleyway with Steph – a girl on whom he has a crush – and they have sex. When the pair emerge, they find themselves in the middle of the melee just as police are detaining rioters, Jimmy is arrested, detained with a volatile, popular Mod he calls Ace Face, and later fined the then-large sum of £50. When fined £75, Ace Face mocks the magistrate by offering to pay on the spot with a cheque, back in London, Jimmy becomes severely depressed. He is thrown out of his house by his mother, who finds his stash of amphetamine pills and he then quits his job, spends his severance package on more pills, and finds out that Steph has become the girlfriend of his friend Dave. In an attempt to relive the recent excitement, he revisits the scenes of the riots, to his horror, Jimmy discovers that his idol, Ace Face, is in reality an undistinguished bellboy at a Brighton hotel. Jimmy steals Aces scooter and heads out to Beachy Head, where he rides perilously close to the cliff edge, finally, he crashes the scooter over a cliff, which is where the film begins, with Jimmy walking back from the cliff top in the sunset back drop. John Lydon screen-tested for the role of Jimmy, however, the distributors of the film refused to insure him for the part and he was replaced by Phil Daniels. Most of the cast were reunited after 28 years at Earls Court on 1 and 2 September 2007 as part of The Quadrophenia Reunion at the London Film & Comic Con run by Quadcon. co. uk. Subsequently the cast agreed to be part of a Quadrophenia Convention at Brighton in 2009, Quadrophenia is the soundtrack album to the 1979 film of the same name, which refers to the 1973 rock opera Quadrophenia. It was initially released on Polydor Records in 1979 as a cassette, the album was dedicated to Peter Meaden, a prominent Mod and first manager of The Who, who had died a year prior to the albums release. The album contains ten of the seventeen tracks from the rock opera Quadrophenia. These are different mixes than those that appear on the 1973 album as they were remixed in 1979 by John Entwistle, the most notable difference is the track The Real Me which features a different bass track, more prominent vocals and a more definite ending. Most of the tracks are edited to be slightly shorter
30.
Compact disc
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Compact disc is a digital optical disc data storage format released in 1982 and co-developed by Philips and Sony. The format was developed to store and play only sound recordings but was later adapted for storage of data. The first commercially available Audio CD player, the Sony CDP-101, was released October 1982 in Japan, standard CDs have a diameter of 120 millimetres and can hold up to about 80 minutes of uncompressed audio or about 700 MiB of data. The Mini CD has various diameters ranging from 60 to 80 millimetres, they are used for CD singles, storing up to 24 minutes of audio. At the time of the introduction in 1982, a CD could store much more data than a personal computer hard drive. By 2010, hard drives commonly offered as much space as a thousand CDs. In 2004, worldwide sales of audio CDs, CD-ROMs and CD-Rs reached about 30 billion discs, by 2007,200 billion CDs had been sold worldwide. In 2014, revenues from digital music services matched those from physical format sales for the first time. American inventor James T. Russell has been credited with inventing the first system to record information on an optical transparent foil that is lit from behind by a high-power halogen lamp. Russells patent application was first filed in 1966, and he was granted a patent in 1970, following litigation, Sony and Philips licensed Russells patents in the 1980s. The compact disc is an evolution of LaserDisc technology, where a laser beam is used that enables the high information density required for high-quality digital audio signals. Prototypes were developed by Philips and Sony independently in the late 1970s, although originally dismissed by Philips Research management as a trivial pursuit, the CD became the primary focus for Philips as the LaserDisc format struggled. In 1979, Sony and Philips set up a joint task force of engineers to design a new audio disc. After a year of experimentation and discussion, the Red Book CD-DA standard was published in 1980, after their commercial release in 1982, compact discs and their players were extremely popular. Despite costing up to $1,000, over 400,000 CD players were sold in the United States between 1983 and 1984, by 1988 CD sales in the United States surpassed those of vinyl LPs, and by 1992 CD sales surpassed those of prerecorded music cassette tapes. The success of the disc has been credited to the cooperation between Philips and Sony, who came together to agree upon and develop compatible hardware. The unified design of the disc allowed consumers to purchase any disc or player from any company. In 1974, L. However, due to the performance of the analog format
31.
Lifehouse (rock opera)
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Lifehouse was a science fiction rock opera by the Who intended as a follow-up to Tommy. In 1978, aspects of the Lifehouse project were revisited by the Who on Who Are You, in 2000, Townshend revived the Lifehouse concept with his set The Lifehouse Chronicles and the sampler Lifehouse Elements. On 1 May 2007, Townshend released online software called The Lifehouse Method in which any sitter could create a musical portrait and he believed that the vibrations could become so pure that the audience would dance themselves into oblivion. Their souls would leave their bodies and they would be in a type of heaven, a permanent state of ecstasy. The only reason this did not happen at Who gigs was because there was a knowledge in the mind that the show would end and everyone would wake up. These ideas were linked to the writing of philosopher Inayat Khan. Another source of inspiration for Townshend was Meher Baba, who claimed to be an Avatar of Brahman, what Townshend was aiming to achieve in Lifehouse was to write music that could be adapted to reflect the personalities of the audience. Ultimately, these components would merge to form a universal chord. To help this process, the Who would encourage individuals to emerge from the audience, Lifehouse began as a story written around several songs. Pete Townshend, The essence of the story-line was a kind a futuristic scene…It’s a fantasy set at a time when rock ’n’ roll didn’t exist, the world was completely collapsing and the only experience that anybody ever had was through test tubes. In a way they lived as if they were in television programmes, the enemies were people who gave us entertainment intravenously, and the heroes were savages who’d kept rock ‘n’ roll as a primitive force and had gone to live with it in the woods. The story was about two sides coming together and having a brief battle. Under those circumstances, a very old guru figure emerges and says ‘I remember rock music and it was absolutely amazing—it really did something to people. ’ He spoke of a kind of nirvana people reached through listening to this type of music. The old man decides that he’s going to try to set it up so that the effect can be experienced eternally, everybody would be snapped out of their programmed environment through this rock and roll-induced liberated selflessness. The Lifehouse was where the music was played, and where the people would collect to discover rock music as a powerful catalyst — a religion as it were. Then I began to feel ‘Well, why just simulate it, individuals would emerge from the audience and find a role in the music and the film. When the concerts became strong enough, they would be filmed along with other peripheral activity from the theater, a storyline would evolve alongside the music. Although the finished film was to have many fictitious and scripted elements, the footage was to be authentic
32.
The Boy Who Heard Music
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The Boy Who Heard Music is a rock opus that began life as an Internet novella written by musician and songwriter Pete Townshend. The work was released as a maxi-single and album by The Who. High is the narrator of the story starts off in the year 2035. He is in a plane of existence called In the Ether. The younger characters are Gabriel who could hear music, Josh who could hear voices, the three live in the same neighbourhood but are of different religious faiths, Gabriel is Christian, Josh is Jewish and Leila is Muslim. Ray High and Leilas father Damoo have been in a partnership called BBZee Studios, as children, Gabriel, Josh and Leila present a play in the studio which involves Joshs Uncle Simon dying and ascending to heaven. The children become interested in Ray and his band after watching tapes of an old concert and their fans often refer to the band as Glass, which becomes a hit under the management of Rays previous manager Rastus and his company PlusBond. The bands contract puts Leila in control of the companys pop-music distribution, the two boys compete for Leilas affections, and she marries Gabriel, who finds it difficult to satisfy her. He becomes an alcoholic and a web porn addict and voyeur, while searching on his name, Gabriel discovers pictures of himself being sexually abused as a child. When Gabriel gets another woman pregnant, Leila leaves him to have an affair with Josh, Gabriel is an ageing, reclusive drunk living in Ray Highs old house when Josh shows up on his doorstep. Because Gabriel has refused use of Glasss music, Josh has run out of money, Gabriel agrees, and the group travels separately to New York City, where the concert will be staged. Gabriel meets a woman in the Ritz Carlton, where he hears screaming children, opening a window, he hears all the tragedies of New York playing out in the streets below. However, the concert will go on as scheduled as a tribute to the victims, Ray seems to be there to take his bows, but he is actually watching a representation of the event at his old studio in Isleworth which is connected to the mental institution. As the concert concludes, Josh grabs a gun from a security guard, a massive staircase appears, accompanied by demons and angels, and Gabriel ascends. This is mirrored by the staircase at the studio where the children held their play many years ago, the steps from the childrens old stage set now lead to a pub called The Black Hole. At an afterparty for the show, Gabriel passes by, entering the pub, Josh imagines Gabriel in The Black Hole, piecing together the fragments with the help of a whiskey. Josh and Leila have tea, and then Leila leaves Josh in his own mental institution cell, the construction which gives the main characters different backgrounds provides a subtext of religious and ethnic discussion relating to issues of co-operation and conflict in current events. With the issue of Endless Wire, Townshend opened a website called The Lifehouse Method which makes musical portraits for sitters through a software application, Wire and Glass was released in the UK17 July 2006 on iTunes and 24 July 2006 as a CD
33.
Substituted amphetamine
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The compounds in this class span a variety of pharmacological subclasses, including stimulants, empathogens, and hallucinogens, among others. Some of amphetamines substituted derivatives occur in nature, for example in the leaves of Ephedra and these have been used since antiquity for their pharmacological effects. Amphetamine was first produced at the end of the 19th century, by the 1930s, amphetamine and some of its derivative compounds found use as decongestants in the symptomatic treatment of colds and also occasionally as psychoactive agents. Their effects on the nervous system are diverse, but can be summarized by three overlapping types of activity, psychoanaleptic, hallucinogenic and empathogenic. Various substituted amphetamines may cause these actions either separately or in combination, amphetamines are a subgroup of the substituted phenethylamine class of compounds. Substitution of hydrogen results in a large class of compounds. Natives of Yemen and Ethiopia have a tradition of chewing khat leaves to achieve a stimulating effect. The active substances of khat are cathinone and, to a lesser extent, amphetamine was first synthesized in 1887 by Romanian chemist Lazăr Edeleanu, although its pharmacological effects remained unknown until the 1930s. MDMA was produced in 1912 as an intermediate product, however, this synthesis also went largely unnoticed. In the 1920s, both methamphetamine and the dextrorotatory optical isomer of amphetamine, dextroamphetamine, were synthesized and this synthesis was a by-product of a search for ephedrine, a bronchodilator used to treat asthma extracted exclusively from natural sources. Over-the-counter use of substituted amphetamines was initiated in the early 1930s by the pharmaceutical company Smith, Kline & French, as a medicine for colds and nasal congestion. Subsequently, amphetamine was used in the treatment of narcolepsy, obesity, hay fever, orthostatic hypotension, epilepsy, Parkinsons disease, alcoholism, the reinforcing effects of substituted amphetamines were quickly discovered, and the misuse of substituted amphetamines had been noted as far back as 1936. During World War II, amphetamines were used by the German military to keep their tank crews awake for long periods and it was noticed that extended rest was required after such artificially induced activity. The widespread use of substituted amphetamines began in postwar Japan and quickly spread to other countries, modified designer amphetamines gained popularity since the 1960s, such as MDA and PMA. In 1970, the United States adopted the Controlled Substances Act that limited non-medical use of substituted amphetamines, street use of PMA was noted in 1972. MDMA emerged as a substitute to MDA in the early 1970s, american chemist Alexander Shulgin first synthesized the drug in 1976 and through him the drug was briefly introduced into psychotherapy. Recreational use grew and in 1985 MDMA was banned by the US authorities in an emergency scheduling initiated by the Drug Enforcement Administration, since the mid-1990s, MDMA has become a popular entactogenic drug among the youth and quite often non-MDMA substances were sold as ecstasy. Ongoing trials are investigating its efficacy as an adjunct to psychotherapy in the management of treatment-resistant post-traumatic stress disorder
34.
Waste collector
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Waste and recycling pickup work is physically demanding and it exposes workers to a number of occupational hazards. Statistics show waste collection to be one of the most dangerous jobs, at even more dangerous than police work. In many developing countries, the first people to tackle the waste collection are pickers working in the economy, i. e. they may be self-financing through recycling, repairing. Examples include the bottley-wallah, recycler of many sorts of materials in India, castes such as the Zabbaleen in Egypt, many varieties of English have a range of names for waste collectors, from formal job titles for municipal employees, to colloquial and regional terms. Eugène Poubelle, French official, who ordered in 1884 that all Paris landlords supply their tenants with covered garbage containers. Alfred P. Doolittle, a common dustman, My Fair Lady from the play, Broadway,1956, London,1958. California Occupational Guide Number 460, Mechanical - Skilled Occupations, Refuse Collectors, state of California, Employment Development Department
35.
Bellhop
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A bellhop or hotel porter is a hotel porter, who helps patrons with their luggage while checking in or out. Bellhops often wear a uniform, like certain other page boys or doormen and this occupation is also called bellman and bellboy in North America. The jobs name is derived from the fact that the front desk clerk rang a bell to summon an employee. The term porter is used in the United Kingdom and much of the English-speaking world, Bellboy or bellhop is an American English term. This employee traditionally was a boy or adolescent male, hence the term bellboy, todays bellhops must be quick-witted, good with people, and outgoing. Bellhops will meet a variety of different people each day and must have the skills to deal with them. Duties often include opening the front door, moving luggage, valeting cars, calling cabs, transporting guests, giving directions, performing basic concierge work and they must be able to escort guests into their rooms while carrying luggage, or help move any baggage a customer needs. In many countries, such as the United States, it is customary to tip such an employee for his service. Brandon Flowers, who is the American frontman, keyboardist and primary lyricist of the Las Vegas-based rock band The Killers, served as a bellhop at the Gold Coast Hotel and Casino in Las Vegas. Ted Serios was a Chicago bellboy who gained notoriety in the 1960s by producing thoughtographs on Polaroid film, karl Ernst was a Sturmabteilung Gruppenführer who, in early 1933, was the Sturmabteilung leader in Berlin. Before joining the Nazi Party he had been a hotel bellboy, the Belgian comic strip character Spirou was originally a bellboy. Throughout many of his albums he always wore a red bellhop suit, in later stories this was reduced to him just wearing his bellhop cap. In the 1918 comedy short The Bell Boy Roscoe Arbuckle and Buster Keaton play bell boys, the Bellboy is a 1960 comedy film starring Jerry Lewis, in which he plays the titular character. The 1962 film The Bellboy and the Playgirls also features a bellboy, the 1973 song Bell Boy by The Who has the character Jimmy discover that someone he looked up to is now a bell boy. In the 1995 film Four Rooms Tim Roth plays a bellhop who goes through rough times. Porter Skycap Bellhops Moving Help Media related to Bellhops at Wikimedia Commons
36.
Frank Zappa
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Zappa also directed feature-length films and music videos, and designed album covers. He is considered one of the most innovative and stylistically diverse rock musicians of his generation, as a self-taught composer and performer, Zappas diverse musical influences led him to create music that was sometimes difficult to categorize. While in his teens, he acquired a taste for 20th-century classical composers such as Edgard Varèse, Igor Stravinsky and he began writing classical music in high school, while at the same time playing drums in rhythm and blues bands, later switching to electric guitar. His 1966 debut album with the Mothers of Invention, Freak Out, combined songs in conventional rock and roll format with collective improvisations and studio-generated sound collages. He continued this eclectic and experimental approach, irrespective of whether the format was rock. Zappas output is unified by a conceptual continuity he termed Project/Object, with musical phrases, ideas. His lyrics reflected his views of established social and political processes, structures and movements. Unlike many other musicians of his era, he personally disapproved of and seldom used drugs. During Zappas lifetime, he was a productive and prolific artist, earning widespread acclaim from critics. He had some success, particularly in Europe, and worked as an independent artist for most of his career. He remains an influence on musicians and composers. His honors include an induction into the 1995 Rock and Roll Hall of Fame and the 1997 Grammy Lifetime Achievement Award. In 2004, Rolling Stone magazine ranked him at number 71 on its list of the 100 Greatest Artists of All Time, Zappa was born in Baltimore, Maryland. His mother, Rosemarie was of Italian and French ancestry, his father, whose name was Anglicized to Francis Vincent Zappa, was an immigrant from Partinico, Sicily, with Greek and Arab ancestry. Frank, the eldest of four children, was raised in an Italian-American household where Italian was often spoken by his grandparents, the family moved often because his father, a chemist and mathematician, worked in the defense industry. After a time in Florida in the 1940s, the returned to Maryland. Due to their homes proximity to the arsenal, which stored mustard gas, gas masks were kept in the home in case of an accident and this had a profound effect on Zappa, and references to germs, germ warfare and the defense industry occur throughout his work. Zappa was often sick as a child, suffering from asthma, earaches, a doctor treated his sinusitis by inserting a pellet of radium into each of Zappas nostrils
37.
Join Together (song)
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Join Together is a 1972 song by British rock band The Who. Released as a single, the song has since been performed live multiple times and has appeared on numerous compilation albums. Join Together is also notable for its roots in The Whos abandoned Lifehouse album, the song was recorded on the same day as Relay and a demo of Long Live Rock in May 1972. The bands lead singer, Roger Daltrey, remembers the song positively, I remember when Pete came up with Join Together. He literally wrote it the night before we recorded it, I quite like it as a single, its got a good energy to it. But at the time I was still doubtful about bringing in the synthesizer. I felt that, with a lot of songs, wed end up spending so much time creating these piddly one-note noises that it wouldve been better just doing it on guitar, I love the guitar, to me its the perfect rock instrument. I dont think Pete did much with those things that he couldnt have done on his guitar anyway. The single was successful, reaching number 9 on the British singles chart, the single was the second of three non-album singles relating to the aborted Lifehouse project, the others being Lets See Action and Relay. It was included on compilations, including The Singles, The Who, The Ultimate Collection, 20th Century Masters, The Millennium Collection, The Best of The Who. A video shot in June 1972 shortly after completing the song featured The Who miming to playback in front of an excited audience. Roger Daltrey and Keith Moon play Jews harps and Pete Townshend and John Entwistle play chord, also during the video, Townshend and Daltreys hands are bandaged. The promotional film premiered in the U. S. on American Bandstand on December 9,1972 and it was performed once on the 1982 tour as well, tagged on to the end of Magic Bus. For the 1989 tour, it was back, this time in the same arrangement as the studio version. On 13 January 2011, the band played this song with guests Debbie Harry, Jeff Beck and it has also been played at almost every show of their ongoing The Who Hits 50. World tour. com at the Wayback Machine
38.
Relay (song)
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Relay is a song written by Pete Townshend, the guitarist of The Who, for the bands aborted Lifehouse project. The song was released as a moderately successful single in 1972. It was also the last non-album single by The Who until Real Good Looking Boy, Relay was originally written as part of the Lifehouse album, but the song was shelved with the rest of the album. In 1972, the song was resurrected to be used in Rock Is Dead—Long Live Rock, another abandoned Who album that was to be released in 1972. The song was recorded during the sessions as Join Together. Relay was released as a single in late 1972, backed with the Keith Moon-penned track, the single charted in the Top 40 in both the UK and US, reaching #21 in the United Kingdom and #39 on the Billboard Hot 100. The single was the last of three singles relating to Lifehouse, the others being Lets See Action and Join Together, lead singer Roger Daltrey spoke positively of the song, saying I love Relay. Pete Townshend, however, felt that it sounded too similar to the other releases. He said of this, Ive got to get a new act together for the Who, weve got to get something fresh. In order to promote the single, Relay was performed on two British television shows, Russell Harty Plus and The Old Grey Whistle Test, in early 1973, however, it was then dropped again until 2006, and remained in the setlist through 2009. Live performances from 2000 onwards were often performed in an extended format, Relay begins with a strong guitar line fed through the sample and hold-controlled VCF of an ARP-2600 synthesiser, which persists throughout the song. It also features an electric guitar and acoustic guitar. Intended to feature near the end of Lifehouse, Relay is thought to refer to the setting up of. The fictional Relay bears strong similarities to the modern Internet, and as such in concerts in the 21st Century, in addition to being released as a single in 1972, Relay has appeared on a number of albums
39.
Whistle Rymes
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Whistle Rymes is the second solo album by John Entwistle, bassist for British rock band The Who. The albums title pokes fun at a common misspelling of Entwistles surname, several of the tracks give a humorous look on domestic life, following the birth of Entwistles son, Christopher. Ten Little Friends was written on piano at John Entwistles Ealing home studio, the title comes from a set of troll figures given to him by the Whos Keith Moon. The track features a solo from Peter Frampton. As well as his bass guitar, Entwistle also plays bass synthesizer. Whistle Rymes is described by Allmusic as having a catchy, straightforward, pop-tinged rock with dark, the original 1972 UK release of this album was on Track Records and distributed by Polydor Records. The first US issue of this album was on the silver Track/Decca label, a year later it was reissued in the US on MCA Records. AllMusic critics said, Thinkin It Over is a witty, waltz-styled tune about a potential suicide having second thoughts while preparing to jump off a building, a punchy, piano-driven rocker about a man who deals with the problems of life by refusing to take it seriously. Viciously witty yet full of emotion, this poison-pen gem ranks up there with Harry Nilssons Youre Breaking My Heart, all songs written and composed by John Entwistle
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