Bossa nova is a style of Brazilian music, developed and popularized in the 1950s and 1960s and is today one of the best-known Brazilian music styles abroad. The phrase bossa nova means "new trend" or "new wave". A lyrical fusion of samba and jazz, bossa nova acquired a large following in the 1960s among young musicians and college students. In Brazil, the word "bossa" is old-fashioned slang for something, done with particular charm, natural flair or innate ability; as early as 1932, Noel Rosa used the word in a samba: "O samba, a prontidão e outras bossas são nossas coisas, são coisas nossas." The exact origin of the term "bossa nova" remained unclear for many decades, according to some authors. Within the artistic beach culture of the late 1950s in Rio de Janeiro, the term "bossa" was used to refer to any new "trend" or "fashionable wave". In his book Bossa Nova, Brazilian author Ruy Castro asserts that "bossa" was in use in the 1950s by musicians as a word to characterize someone's knack for playing or singing idiosyncratically.
Castro claims that the term "bossa nova" might have first been used in public for a concert given in 1957 by the Grupo Universitário Hebraico do Brasil. The authorship of the term "bossa nova" is attributed to the then-young journalist Moyses Fuks, promoting the event; that group consisted of Sylvia Telles, Carlos Lyra, Nara Leão, Luiz Eça, Roberto Menescal, others. Mr. Fuks's description supported by most of the bossa nova members read "HOJE. SYLVIA TELLES E UM GRUPO BOSSA NOVA", since Sylvia Telles was the most famous musician in the group at that time. In 1959, Nara Leão participated in more than one embryonic display of bossa nova; these include the 1st Festival de Samba Session, conducted by the student union of Pontifícia Universidade Católica. This session was chaired by Carlos Diegues, a law student whom Leão married. Bossa nova is most performed on the nylon-string classical guitar, played with the fingers rather than with a pick, its purest form could be considered unaccompanied guitar with vocals, as created and exemplified by João Gilberto.
In larger, jazz-like arrangements for groups, there is always a guitar that plays the underlying rhythm. Gilberto took one of the several rhythmic layers from a samba ensemble the tamborim, applied it to the picking hand. According to Brazilian musician Paulo Bitencourt, João Gilberto, known for his eccentricity and obsessed by the idea of finding a new way of playing the guitar locked himself in the bathroom, where he played one and the same chord for many hours in a row; as in samba, the surdo plays an ostinato figure on the downbeat of beat one, the "ah" of beat one, the downbeat of beat two and the "ah" of beat two. The clave pattern sounds similar to the two-three or three-two son clave of Cuban styles such as mambo but is dissimilar in that the "two" side of the clave is pushed by an eighth note. Important in the percussion section for bossa nova is the cabasa, which plays a steady sixteenth-note pattern; these parts are adaptable to the drum set, which makes bossa nova a rather popular Brazilian style for drummers.
Certain other instrumentations and vocals are part of the structure of bossa nova: Bossa nova has at its core a rhythm based on samba. Samba feel originating in former African slave communities. Samba's emphasis on the second beat carries through to bossa nova. However, unlike samba, bossa nova doesn't have dance steps to accompany it; when played on the guitar, in a simple one-bar pattern, the thumb plays the bass notes on 1 and 2, while the fingers pluck the chords in unison on the two eighth notes of beat one, followed by the second sixteenth note of beat two. Two-measure patterns contain a syncopation into the second measure. Overall, the rhythm has a "swaying" feel rather than the "swinging" feel of jazz; as bossa nova composer Carlos Lyra describes it in his song "Influência do Jazz", the samba rhythm moves "side to side" while jazz moves "front to back". Bossa nova was influenced by the blues, but because the most famous bossa novas lack the 12-bar structure characteristic of classic blues, as well as the statement and rhyming resolution of lyrics typical of the genre, bossa nova's affinity with the blues passes unnoticed.
Aside from the guitar style, João Gilberto's other innovation was the projection of the singing voice. Prior to bossa nova, Brazilian singers employed brassy operatic styles. Now, the characteristic nasal vocal production of bossa nova is a peculiar trait of the caboclo folk tradition of northeastern Brazil; the lyrical themes found in bossa nova include women, longing, nature. Bossa Nova was apolitical; the musical lyrics of the late 1950s depicted the easy life of the middle to upper-class Brazilians, though the majority of the population was in the working class. However, in conjunction with political developments of the early 1960s, the popularity of bossa nova was eclipsed by Música popular brasileira, a musical genre that appeared around the mid-1960s, featuring lyrics that were more politically charged, referring explicitly to working class struggle. Luiz BonfáLuiz Bonfá Plays and Sings Bossa Nova Jazz Samba Encore! with Stan Getz Bob BrookmeyerTrombone Jazz Samba (recorded August 2
The tambourine is a musical instrument in the percussion family consisting of a frame of wood or plastic, with pairs of small metal jingles, called "zills". Classically the term tambourine denotes an instrument with a drumhead, though some variants may not have a head at all. Tambourines are used with regular percussion sets, they can be mounted, for example on a stand as part of a drum kit, or they can be held in the hands and played by tapping or hitting the instrument. Tambourines come in many shapes with the most common being circular, it is found in many forms of music: Turkish folk music, Greek folk music, Italian folk music, classical music, Persian music, gospel music, pop music, country music, rock music. Tambourines originated in Egypt, where they were known as the tof to the Hebrews, in which the instrument was used in religious contexts; the word tambourine finds its origins in French tambourin, which referred to a long narrow drum used in Provence, the word being a diminutive of tambour "drum," altered by influence of Arabic tunbur "drum".
From the Middle Persian word tambūr "lute, drum". The tambourine can be held in the hand or mounted on a stand, can be played in numerous ways, from stroking or shaking the jingles to striking it with the hand or a stick or using the tambourine to strike the leg or hip. There are several ways to achieve a tambourine roll; the easiest method is to rotate the hand holding the tambourine back and forth, pivoting at the wrist. An advanced playing technique is known as the thumb roll; the finger or thumb is moved over the skin or rim of the tambourine, producing a fast roll from the jingles on the instrument. This takes more experience to master; the thumb or middle finger of the hand not holding the tambourine is run around the head of the instrument one centimeter from the rim with some pressure applied. If performed the thumb should bounce along the head producing the roll; the end of the roll is articulated using the heel of the hand or another finger. In the 2000s, the thumb roll may be performed with the use of wax or resin applied to the outside of the drum head.
This resin allows the thumb or finger to bounce more and forcefully across the head producing an sound. A continuous roll can be achieved by moving the thumb in a "figure of 8" pattern around the head. In rock music, a tambourine is most played: By lead singers who shake it while they play – Lead singers such as Mick Jagger, Freddie Mercury, George Michael, Mike Love, Jon Anderson, Jim Morrison, Robert Plant, Peter Gabriel, Liam Gallagher, Gene Clark, Ray Thomas, Trent Reznor, Ian Astbury, Stevie Nicks, Roger Daltrey, Jon Davison, Tyler Joseph, Gerard Way, Florence Welch, Tim Booth, Taylor Momsen, Davy Jones and Ryan Tedder have all been known to use a tambourine while singing. By drummers/percussionists – Drummers such as Larry Mullen, Jr. of U2 mount a tambourine above the cymbals of their hi-hat stand. Other drummers and percussionists who have played the tambourine include Ringo Starr, Roger Taylor, Hal Blaine, Phil Collins, Charlie Watts, Maureen Tucker, Bev Bevan, Ralph MacDonald, Danny Seraphine, Laudir de Oliveira, Mick Fleetwood, Milt Holland, Paulinho da Costa, Sheila E. Steve Gadd, Airto Moreira, Bobbye Hall, Russ Kunkel, Liberty DeVitto, Nigel Olsson, Luis Conte, Dave Weckl, Steve Jordan, Jeff Porcaro, Neil Peart, Graeme Edge, Dallas Taylor, Don Henley, Emil Richards, Ray Cooper, Crystal Taliefero, Angus MacLise, Alex Acuna, Joe Lala, Nick Mason, John Bonham, Billy Cobham, Ian Paice, Frank Ricotti, Carl Palmer, Bobby Colomby, Tré CoolTambourines in rock music are most headless, a ring with jangles but no drum skin.
The Rhythm Tech crescent-shaped tambourine and its derivatives are popular. The original Rhythm Tech tambourine is displayed in the Museum of Modern Art. Jack Ashford's distinctive tambourine playing was a dominant part of the rhythm section on Motown records; the tambourine was featured in "Green Tambourine", a busking-oriented song with which The Lemon Pipers, a 1960s musical group, notched a chart selection. Wolfgang Amadeus Mozart was among the earliest western composers to include the tambourine in his compositions. Since the late eighteenth century it has become a more permanent element of the western orchestral percussion section, as exemplified in some of Pyotr Ilyich Tchaikovsky's dance pieces from The Nutcracker Suite. Gustav Holst's seven-movement orchestral suite The Planets features the tambourine in several places throughout the suite in the "Jupiter" movement. Buben is a musical instrument of the percussion family similar to a tambourine. A buben consists of a wooden or metal hoop with a tight membrane stretched over one of its sides.
Certain kinds of bubens are equipped with clanking metal rings, cymbals, or little bells. It is held in the hand and can be played in numerous ways, from stroking or shaking the jingles to striking it with hand, it is used for rhythmical accompaniment during soloist or choral singing. Buben is used by some folk and professional bands, as well as orchestras; the name is related to Greek language βόμβος and βομβύλη and related to Indo-Aryan bambharas and English bee. Buben is known to have existed in many countries since time immemorial in the East. There are many kinds of bubens, including def, daf, or qaval, daf or khaval, doira, daire or def, pandero. In Kievan Rus and milita
A hi-hat is a combination of two cymbals and a foot pedal, all mounted on a metal stand. It is a part of the standard drum kit used by drummers in many styles of music including rock and blues. Hi-hats consist of a matching pair of small to medium-sized cymbals mounted on a stand, with the two cymbals facing each other; the bottom cymbal is fixed and the top is mounted on a rod which moves the top cymbal towards the bottom one when the pedal is depressed. The hi-hat evolved from a "sock cymbal", a pair of similar cymbals mounted at ground level on a hinged, spring-loaded foot apparatus. Drummers invented the first sock cymbals to enable one drummer to play multiple percussion instruments at the same time. Over time these became mounted on short stands - known as "low-boys" - and activated by foot pedals similar to those used in the 2010s; when extended upwards 3' they were known as "high sock" cymbals, which evolved over time to the familiar "high-hat" term. The cymbals may be played by closing them together with the foot pedal, which creates a "chck" sound or striking them with a stick, which may be done with them open, closed and closed after striking to dampen the ring, or closed and opened to create a shimmering effect at the end of the note.
Depending on how hard a hi-hat is struck and whether it is "open", a hi-hat can produce a range of dynamics, from quiet "chck" sounds, done with gently pressing the pedal. While the term hi-hat refers to the entire setup, in some cases, drummers use it to refer to the two cymbals themselves. Initial versions of the hi-hat were called clangers, which were small cymbals mounted onto a bass drum rim and struck with an arm on the bass drum pedal. Came shoes, which were two hinged boards with cymbals on the ends that were clashed together. Next was the low-sock, low-boy or low-hat, pedal-activated cymbals employing an ankle-high apparatus similar to a modern hi-hat stand. A standard size was some with heavy bells up to 5 inches wide. Hi-hats that were raised and could be played by hand as well as foot may have been developed around 1926 by Barney Walberg of the drum accessory company Walberg and Auge; the first recognized master of the new instrument was "Papa" Jo Jones, whose playing of timekeeping "ride" rhythms while striking the hi-hat as it opened and closed inspired the innovation of the ride cymbal.
Another claim, published in Jazz Profiles Blogspot on August 8, 2008, to the invention of the hi-hat is attributed to drummer William "O'Neil" Spencer. Legendary Jazz drummer, "Philly Jo Jones", was quoted describing his understanding about the hi-hat history. Jones said, "I dug O'Neil, he came to club in Philadelphia where I was working in 1943, I think it was, talked to me about the hi-hat. I was using the low-hat. O'Neil was the one. I believe man, he suggested' when playing 4/4 time. The idea seemed so right hadn't heard anyone do that before." The editor of the 2008 Jazz Profiles article made specific mention to others who are thought to invent the hi-hat, including Jo Jones, but Kaiser Marshall. Not to take away from Papa Jones accomplishments in drumming style and technique, a 2013 Modern Drummer article credits Papa Jones with being the first to use brushes on drums and shifting time keeping from the bass drum to the hi-hat; until the late 1960s, standard hi-hats were 14 inches, with 13 inches available as a less-common alternative in professional cymbal ranges, smaller sizes down to 12 inches restricted to children's kits.
In the early 1970s, hard rock drummers began to use 15-inch hi-hats, such as the Paiste Giant Beat. In the late 1980s, Zildjian released its revolutionary 12-inch Special Recording hats, which were small, heavy hi-hat cymbals intended for close miking either live or recording, other manufacturers followed suit, Sabian for example with their 10-inch mini hats. In the early to mid-1990s, Paiste offered 8-inch mini hi-hats as part of its Visions series, which were among the world's smallest hi-hats. Starting in the 1980s, a number of manufacturers experimented with rivets in the lower cymbal, but by the end of the 1990s, the standard size was again 14 inches, with 13 inches a less-common alternative, smaller hats used for special sounds. Rivets in hi-hats failed to catch on. Modern hi-hat cymbals are much heavier than modern crash cymbals, reflecting the trend to lighter and thinner crash cymbals as well as to heavier hi-hats. Another evolution is that a pair of hi-hat cymbals may not be identical, with the bottom heavier than the top, vented.
Some examples are Sabian's Fusion Hats with holes in the bottom cymbal, the Sabian X-cellerator, Zildjian Master Sound and Zildjian Quick Beats, Paiste Sound Edge, Meinl Soundwave. Some drummers use mismatched hi-hats from different cymbal ranges, of different manufacturers, of different sizes. Max Roach was known for using a 15-in
"Mad World" is a 1982 song by the British band Tears for Fears. Written by Roland Orzabal and sung by bassist Curt Smith, it was the band's third single release and first chart hit, reaching number 3 on the UK Singles Chart in November 1982. Both "Mad World" and its B-side, "Ideas as Opiates", appeared on the band's debut LP The Hurting. "Mad World" has since been covered by various artists, most notably by Michael Andrews and Gary Jules for the soundtrack of the film Donnie Darko in 2001. This version was a UK number one hit and won Orzabal his second Ivor Novello Award in 2003. "Mad World" was written on acoustic guitar when Orzabal was 19 after being inspired to write a new wave song in the vein of Duran Duran's "Girls on Film". After a few false starts with Orzabal on vocals, he suggested Smith sing it and "suddenly it sounded fabulous"."Mad World" was intended to be the B-side for the band's second single "Pale Shelter", but their record company stated that "Mad World" could be a single in its own right.
The band opted to re-record "Mad World" with producers Ross Cullum and Chris Hughes, a former drummer with Adam and the Ants. That came when I lived above a pizza restaurant in Bath and I could look out onto the centre of the city. Not that Bath is mad – I should have called it "Bourgeois World"! "Mad World" was the first single off the finished album. The intention was to gain attention from it and we'd build up a little following. We had no idea. Nor did the record company. Curt Smith's ad lib in the song's final chorus resulted in a mondegreen. Smith clarified the actual lyric in 2010: With Mad World's again-resurgent popularity, I'm getting asked more about the last line on the album version from The Hurting, a line which I also sing in concert; the actual line is: "Halargian world." The real story: Halarge was an imaginary planet invented by either Chris Hughes or Ross Cullum during the recording of The Hurting. I added it as a joke during the lead vocal session, we kept it, and there you have it.
The song was influenced by the theories of Arthur Janov, author of The Primal Scream, the lyric "the dreams in which I'm dying are the best I've had" suggests that dreams of intense experiences such as death will be the best at releasing tension. The 7" version of "Mad World" is the same mix of the song found on The Hurting; the song had only one remix on its initial release, the World Remix, featured on a 7" double-single. This mix is similar to the album version, with the most notable differences being the additional echo added to the intro and middle sections and the subtraction of a subtle keyboard part from the bridge. A remix by noted British music producer Afterlife was featured on the 2005 reissue of the Tears for Fears greatest hits collection Tears Roll Down. "Ideas as Opiates" is a song that served as the B-side to the "Mad World" single, was re-recorded for inclusion on The Hurting. The song takes its name from a chapter title in Arthur Janov's book Prisoners of Pain and features lyrics related to the concept of primal therapy.
The song is musically sparse, featuring just a piano, drum machine, saxophone. An alternative version of this song titled "Saxophones as Opiates" was included as a B-side on the 12" single and is instrumental. That's the chapter from Janov, it's a reference to people's mindsets, the way that the ego can suppress so much nasty information about oneself – the gentle way that the mind can fool oneself into thinking everything is great, it was all about that kind of thing – the psychological answer to religion being the opiate of the masses, whereas we thought ideas were, more than anything else. The promotional video for "Mad World" was filmed in late summer 1982, it was Tears for Fears' first music video, features a gloomy looking Curt Smith staring out of a window while Roland Orzabal dances outside on a lakeside jetty. A brief party scene in the video features friends and family of the band, including Smith's mother as well as his then-wife Lynne. According to Curt Smith, "When we made the video in a country estate on the cheap, we bussed all our friends and family up from Bath and had a fun day.
The woman who's having the birthday party in the video is my mum."The music video was directed by Clive Richardson, notable for his work at that time with Depeche Mode. 7": Mercury / IDEA3 / 812 213–7 "Mad World" – 3:32 "Ideas as Opiates" – 3:547": Mercury / IDEA3 / 6059 568 / TOS 1411 "Mad World" – 3:42 "Ideas as Opiates" – 3:547" double pack: Mercury / IDEA33 "Mad World" – 3:32 "Mad World" – 3:42 "Suffer the Children" – 4:15 "Ideas as Opiates" – 3:5412": Mercury / IDEA312 / 6400 677 "Mad World" – 3:32 "Ideas as Opiates" – 3:54 "Saxophones as Opiates" – 3:54 "Mad World" achieved a second round of success 20 years after its release, when it was covered by Michael Andrews and Gary Jules for the film Donnie Darko. While the Tears for Fears version featured synthesisers and heavy percussion, the Andrews/Jules version was stripped down, their version was released on CD in 2002 on the film's soundtrack, but an increasing cult-following spawned by the film's DVD release prompted Jules and Andrews to issue the song as a proper single.
It was released thr
Radiohead are an English rock band formed in Abingdon-on-Thames in 1985. The band consists of Thom Yorke, brothers Jonny Greenwood and Colin Greenwood, Ed O'Brien and Philip Selway, they have worked with producer Nigel Godrich and cover artist Stanley Donwood since 1994. After signing to EMI in 1991, Radiohead released their debut single "Creep" in 1992, it became a worldwide hit after the release of Pablo Honey. Their popularity and critical standing rose in the United Kingdom with the release of their second album, The Bends. Radiohead's third album, OK Computer, brought them international fame; the group's next albums Kid A and Amnesiac, recorded marked a dramatic change in style, incorporating influences from experimental electronic music, 20th-century classical music and jazz. Kid A divided listeners but was named the best album of the decade by Rolling Stone and The Times. Radiohead's sixth album, Hail to the Thief, mixed rock and electronic music with lyrics inspired by the War on Terror, was the band's final album for EMI.
Their subsequent releases have pioneered alternative release platforms such as pay-what-you-want and BitTorrent. Their eighth album, The King of Limbs, an exploration of rhythm, was developed using extensive looping and sampling. A Moon Shaped Pool prominently featured Jonny Greenwood's orchestral arrangements. Radiohead had sold more than 30 million albums worldwide by 2011, their work places in both listener polls and critics' lists of the best music of the 1990s and 2000s. In 2005, they were ranked 73rd in Rolling Stone's list of "The Greatest Artists of All Time". In 2009, Rolling Stone readers voted Radiohead the second-best artist of the 2000s, they were inducted into the Rock and Roll Hall of Fame in 2019. The members of Radiohead met while attending Abingdon School, an independent school for boys in Abingdon, Oxfordshire. Guitarist and singer Thom Yorke and bassist Colin Greenwood were in the same year, guitarist Ed O'Brien and drummer Philip Selway the year above, multi-instrumentalist Jonny Greenwood, brother of Colin, two years below.
In 1985, they formed On a Friday, the name referring to the band's usual rehearsal day in the school's music room. Jonny was the last to join, first on harmonica and keyboards, but soon became the lead guitarist. According to Colin, the band members picked their instruments because they wanted to play music together, rather than through an interest in the particular instrument: "It was more of a collective angle, if you could contribute by having someone else play your instrument, cool." At one point, On a Friday featured a saxophone section. The band disliked the school's strict atmosphere—the headmaster once charged them for using a rehearsal room on a Sunday—and found solace in the school's music department, they credited their music teacher for introducing them to jazz, film scores, postwar avant-garde music, 20th-century classical music. Oxfordshire and the Thames Valley had an active independent music scene in the late 1980s, but it centred on shoegazing bands such as Ride and Slowdive.
Although all but Jonny had left Abingdon by 1987 to attend university, On a Friday continued to rehearse on weekends and holidays. At the University of Exeter, Yorke played with the band Headless Chickens, performing songs including future Radiohead material, he met artist Stanley Donwood, who created artwork for Radiohead. In 1991, On a Friday regrouped, sharing a house on the corner of Magdalen Road and Ridgefield Road, Oxford; as On a Friday continued to perform in Oxford, including more performances at the Jericho Tavern, record labels and producers became interested. Chris Hufford, Slowdive's producer and co-owner of Oxford's Courtyard Studios, attended an early On a Friday concert at the Jericho Tavern. Impressed, he and his partner Bryce Edge became On a Friday's managers. In late 1991, after a chance meeting between Colin and EMI A&R representative Keith Wozencroft at Our Price, the record shop where Colin worked, On a Friday band signed a six-album recording contract with EMI. At the label's request, the band changed their name.
Radiohead recorded their debut release, the Drill EP, with Chris Hufford and Bryce Edge at Courtyard Studios. Released in May 1992, its chart performance was poor; the band enlisted Paul Kolderie and Sean Slade, who had worked with US indie bands Pixies and Dinosaur Jr. to produce their debut album, recorded in an Oxford studio in 1992. With the release of the "Creep" single that year, Radiohead began to receive attention in the British music press, not all of it favourable. Radiohead released their debut album, Pablo Honey, in February 1993, it stalled at number 22 in the UK charts, as "Creep" and its follow-up s
John Foxx is an English singer, artist and teacher. He was the original lead singer of the band Ultravox, before leaving to embark on a solo career. Associated with electronic synthesizer music, he has pursued a parallel career in graphic design and education. Andy Kellman of AllMusic noted that Foxx "was one of those cult figures known more through the recordings of others rather than those of his own making, his detached, jolting vocal style inspired mainstream and underground artists across the decades, from synth pop superstar Gary Numan to electro-techno duo Adult". Leigh was born in Chorley, England, his father was his mother a millworker. He attended St Augustine's Secondary schools. During his youth in the 1960s he embraced the lifestyle of a hippy, he experimented with tape recorders and synthesisers while on a scholarship at the Royal College of Art in London. His first band, formed whilst at art college in Preston, was called Woolly Fish. Prior to 1973, he was singing and playing a 12-string guitar and supported Stack Waddy in Manchester, from which he moved to London in order to escape what he saw as a lack of musical stimulus.
In 1973, Foxx formed a band that would be called Tiger Lily, composed of bassist Chris Allen and guitarist Stevie Shears, with Canadian drummer Warren Cann joining shortly afterwards, in early 1974. The band played their first gig at the Marquee club in August 1974, after which Billy Currie was recruited as violinist. Tiger Lily released a single in 1975 on Gull Records, the A-side of, a cover of the Fats Waller track "Ain't Misbehavin'", it was commissioned for a movie of the same name. The B-side was the group's own song – "Monkey Jive". Tiger Lily played a few gigs in London pubs between 1974 and 1975. After several name-changes, including Fire of London, The Zips and The Damned, the band became Ultravox!, in July 1976. The group's style fused punk, electronic and new wave music. At the same time, Leigh adopted his stage name of John Foxx: Foxx is much more intelligent than I am, better looking, better lit. A kind of naively perfected entity. He's just like a recording, where you can make several performances until you get it right - or make a composite of several successful sections discard the rest.
Chris Allen, who had gone by the name Chris St. John, changed his name again, to Chris Cross. Once the band signed to Island Records, they released three albums during 1977–1978; the first Ultravox! single, "Dangerous Rhythm", backed with "My Sex", was released on 19 January 1977. Their first album was released shortly afterwards, produced by Steve Lillywhite and the band, with assistance from Brian Eno, it was followed by their second album Ha!-Ha!-Ha!, which included the single "ROckWrok", although both were commercial failures. For their third album, Systems of Romance, Ultravox abandoned the exclamation mark in their name. Missing was their first guitarist, Stevie Shears, replaced by Robin Simon, from Neo; the album was co-produced by Conny Plank. Two singles were released from the album, "Slow Motion" and "Quiet Men". Sales were modest, but the album did gain the band exposure to a wider audience, including the United States. During the recording of Systems of Romance, a song of the same name was written, but the band had no time to record it.
It was included on Foxx's second solo album The Garden. At Systems of Romance gigs, Foxx began to perform with the band three future solo songs, "He's a Liquid" and "Touch & Go" and "Walk Away"; the latter song was not performed again by Foxx until 1983. Ultravox was dropped by their record label at the beginning of 1979; the band undertook a self-financed tour of the United States in February, during which they performed two new songs, "Touch and Go", which Foxx recorded for Metamatic, "Radio Beach". Foxx left the band at the end of the tour, returned to solo work. After signing to Virgin Records, Foxx achieved minor chart success with his first solo singles, "Underpass" and "No-One Driving", its parent album Metamatic was released on 17 January 1980, peaked at No. 18 in the UK Albums Chart. Foxx played most of "rhythm machines", as they were listed on the sleeve. One of the album's songs, "Metal Beat", takes its name from a CR-78 drum machine sound used on the record. Virgin released the album under the imprint name Metal Beat Records, used for Foxx releases throughout his contract with them.
He worked on dozens of tracks for two projected albums, one of these tracks, "My Face", was released on a flexi-disc given away with Smash Hits in October 1980. Foxx's next album was The Garden, released in September 1981, it reached No. 24 in the UK Albums Chart. The Garden's starting point was "Systems of Romance", written by Foxx for the earlier album but not released at the time. In 1982, Foxx set up his own recording studio, designed by Andy Munro called The Garden, housed in an artists' collective in Shoreditch, East London, in a former warehouse occupied by sculptors and film makers, he produced some demo recordings for Virginia Astley's first album From Gardens Where We Feel Secure. Artists such as Depeche Mode, British Electric Foundation, Brian Eno, Trevor Horn, Bronski Beat, The Cure, Nick Cave and the Bad Seeds, Tina Turner and the Banshees and Tuxedomoon recorded in Foxx's studio. In 1983, Foxx provided some music for the soundtrack to Michelangelo Antonioni's film Identifi
Philip David Charles Collins is an English drummer, songwriter, multi-instrumentalist, record producer, actor. He was the drummer and singer of the rock band Genesis, is a solo artist. Between 1982 and 1989, Collins scored three UK and seven US number-one singles in his solo career; when his work with Genesis, his work with other artists, as well as his solo career is totalled, Collins had more US Top 40 singles than any other artist during the 1980s. His most successful singles from the period include "In the Air Tonight", "Against All Odds", "One More Night", "Sussudio", "Two Hearts" and "Another Day in Paradise". Born and raised in west London, Collins played drums from the age of five and completed drama school training, which secured him various roles as a child actor, he pursued a music career, joining Genesis in 1970 as their drummer and becoming lead singer in 1975 following the departure of Peter Gabriel. Collins began a solo career in the 1980s inspired by his marital breakdown and love of soul music, releasing a series of successful albums, including Face Value, No Jacket Required, and...
But Seriously. Collins became "one of the most successful pop and adult contemporary singers of the'80s and beyond", he became known for a distinctive gated reverb drum sound on many of his recordings. In 1996, Collins left Genesis to focus on solo work, he rejoined Genesis for their Turn It On Again Tour in 2007. Following a five-year retirement to focus on his family life, Collins released an autobiography and began his Not Dead Yet Tour, which runs from June 2017 until October 2019. Collins's discography includes eight studio albums that have sold 33.5 million certified units in the US and an estimated 150 million worldwide, making him one of the world's best-selling artists. He is one of only three recording artists, along with Paul McCartney and Michael Jackson, who have sold over 100 million records worldwide both as solo artists and separately as principal members of a band, he has won eight Grammy Awards, six Brit Awards—winning Best British Male three times—two Golden Globe Awards, one Academy Award, a Disney Legend Award.
He has received six Ivor Novello Awards from the British Academy of Songwriters and Authors, including the International Achievement Award. He received a star on the Hollywood Walk of Fame in 1999, was inducted into the Songwriters Hall of Fame in 2003, the Rock and Roll Hall of Fame as a member of Genesis in 2010, the Modern Drummer Hall of Fame in 2012, the Classic Drummer Hall of Fame in 2013. Philip David Charles Collins was born on 30 January 1951 in Chiswick, England, to Greville Philip Austin Collins, an insurance agent, Winifred June Collins, a theatrical agent, he was one of two boys, his brother being Clive Collins, who would become a noted cartoonist. He was given a toy drum kit for Christmas, his uncle made him a makeshift set that he used regularly. As Collins grew older, these were followed by more complete sets bought by his parents, he practiced by playing with music on the radio. According to Barbara Speake, founder of the eponymous stage school Collins attended, "Phil was always special.
His professional acting training began at the age of 14, at the Barbara Speake Stage School, a fee-paying but non-selective independent school in East Acton, west London, whose talent agency had been established by his mother. Collins studied drum rudiments as a teenager, first learning basic rudiments under Lloyd Ryan and studying further under Frank King. Collins recalled: "Rudiments I found very helpful – much more helpful than anything else because they're used all the time. In any kind of funk or jazz drumming, the rudiments are always there." He never learned to read and write conventional musical notation and instead used a system he devised himself. He regretted this, saying: "I never came to grips with the music. I should have stuck with it. I've always felt. For me, good enough, but that attitude is bad." Ryan recalled: "Phil always had a problem with reading. That was always a big problem for him. That's a shame because reading drum music isn't that difficult."The Beatles were a major early influence on Collins, including their drummer Ringo Starr.
He followed the lesser-known London band the Action, whose drummer he would copy and whose work introduced him to the soul music of Motown and Stax Records. Collins was influenced by the jazz and big band drummer Buddy Rich, whose opinion on the importance of the hi-hat prompted him to stop using two bass drums and start using the hi-hat. While attending Chiswick County School for Boys, Collins formed a band called the Real Thing, joined the Freehold, with whom he wrote his first song, "Lying Crying Dying". Collins began a career as a child actor while at the Barbara Speake Stage School and won his first major role as the Artful Dodger in the London stage production of Oliver!, the musical adaptation of the Charles Dickens novel Oliver Twist. He was an extra in the Beatles' film A Hard Day's Night among the screaming teenagers during the television concert sequence, filmed at Scala Theatre in central London; this was followed by a role in Calamity the Cow, produced by the Children's Film Foundation.