Chrysalis Records is a British record label, created in 1968. The name was both a reference to the pupal stage of a butterfly and a combination of its founders' names, Chris Wright and Terry Ellis, it started as the Ellis-Wright Agency. In an interview for Jethro Tull's video 20 Years of Jethro Tull, released in 1988, Wright states "Chrysalis Records might have come into being anyway, you never know what might have happened, but Chrysalis Records came into being because Jethro Tull couldn't get a record deal and MGM couldn't get their name right on the record"; this was. Chrysalis entered into a licensing deal with Chris Blackwell's Island Records for distribution, based on the success of bands like Jethro Tull, Ten Years After and Procol Harum, which were promoted by the label. Jethro Tull signed with Reprise Records in the United States, which led Chrysalis to an American distribution deal with Reprise's parent company, Warner Bros. Records; this lasted from 1972 until U. S. Chrysalis switched to independent distribution in 1976.
PolyGram handled Festival Records covered Australia and New Zealand. Towards the end of the 1970s, the label began to extend its range of music, incorporating acts from the Punk Rock scene such as Generation X; the Chrysalis offshoot 2 Tone Records brought in bands such as The Specials and The Selecter. In 1979 Chrysalis bought and distributed U. S. folk label Takoma Records, naming manager/producer Denny Bruce as president, who signed The Fabulous Thunderbirds and T-Bone Burnett. Jon Monday, Vice President of Takoma Records prior to the acquisition continued as General Manager becoming Director of Marketing of Chrysalis Records. Chrysalis made history in 1979 by creating the first "music video album", a videocassette featuring a corresponding music video for each song on Blondie's Eat to the Beat album. In the 1980s, Chrysalis was at the forefront of the British New Romantic movement with bands such as Gen X, Spandau Ballet; the 1980s proved to be the most successful time for the label, whose roster included Billy Idol, Pat Benatar and Huey Lewis and the News.
Chrysalis distributed Animal Records, the short-lived label founded by Blondie guitarist Chris Stein. In 1983 Daniel Glass moved to Chrysalis as Director of New Music Marketing, advancing to Senior Vice President. In 1984 after the label re-established itself in New York, Eric Heckman, formally of Atlantic and Epic records promotion took over as Senior Director of Promotion and Marketing. During the next two years Chrysalis broke the News, Billy Idol and Spandau Ballet. Pat Benetar continued to find success on both traditional and dance charts; the Chrysalis Records label was sold 50% in 1990 the remaining half in 1991 to EMI with catalogue and artists such as Starsailor being shifted to the main EMI imprints. Chrysalis Records folded into EMI subsidiary and flagship label EMI Records in 2005. In 2010, BMG Rights Management bought Chrysalis Music's assets; the British Chrysalis catalogue was put up for sale by Universal Music Group after its acquisition of EMI. In July 2013, Warner Music Group completed acquisition of Parlophone Label Group, which includes the British Chrysalis catalogue, for £487 million.
When Universal Music Group purchased EMI in 2012 ownership of Chrysalis passed to UMG. In 2013 Warner Music Group acquired part of EMI from UMG, including the original UK Chrysalis Records Ltd with its catalogue of 130 artists; the American Chrysalis catalogue, including artists such as Blondie, Huey Lewis and The News, Pat Benatar, was merged into EMI Records Group America, merged into former sister label Capitol Records, is distributed by that label. In May 2016, Blue Raincoat Music purchased Chrysalis Records Ltd and most of the British signed artist catalogue from Warner Music Group. Blue Raincoat founders Jeremy Lascelles and Robin Millar brought in Robert Devereux and Chrysalis co-founder Chris Wright to augment the team; the deal reunited Wright, named non-executive chairman of Chrysalis, with the company he set up 47 years previously. The catalogues of namely Spandau Ballet, The Proclaimers, The Ramones, Jethro Tull stayed behind with Warners. Besides its European catalogue, the Chrysalis deal included the rights to Everything but the Girl, Suzi Quatro, Steve Harley & Cockney Rebel, Fun Lovin' Criminals, Naked Eyes, Grant Lee Buffalo, The Swinging Blue Jeans, Lucinda Williams, Dario G, Toumani Diabaté.
In March 2017, BMG assigned distribution of releases by other former Chrysalis artists, namely Arrow, David Dundas, Lynsey de Paul, Climax Blue Band, Ivor Cutler, to WMG's Alternative Distribution Alliance returning Chrysalis to Warners. Official site for Chrysalis Records UK at Blue Raincoat Music Ben Sisario, "Warner Music Group Buys EMI Assets for $765 Million". New York Times, "Media Decoder" blog, 7 February 2013 Discogs page on Chrysalis Records "Chrysalis Records acquired by Blue Raincoat Music founders Jeremy Lascelles and Robin Millar". Musicweek.com. Retrieved 7 December 2017. "Newly independent Chrysalis Records extends catalogue with more EMI divestments from Warner - Complete Music Update". Completemusicupdate.com. Retrieved 7 December 2017
Punk rock is a rock music genre that developed in the mid-1970s in the United States, United Kingdom and Australia. Rooted in 1960s garage rock and other forms of what is now known as "proto-punk" music, punk rock bands rejected perceived excesses of mainstream 1970s rock, they produced short, fast-paced songs with hard-edged melodies and singing styles, stripped-down instrumentation, political, anti-establishment lyrics. Punk embraces a DIY ethic; the term "punk rock" was first used by certain American rock critics in the early 1970s to describe 1960s garage bands and subsequent acts perceived as stylistic inheritors. Between 1974 and 1976 the movement now called. By late 1976, bands such as Television and the Ramones in New York City, the Sex Pistols, the Clash, the Damned in London, the Saints in Brisbane were recognized as forming its vanguard; as 1977 approached, punk became a major and controversial cultural phenomenon in the UK. It spawned a punk subculture expressing youthful rebellion through distinctive styles of clothing and adornment and a variety of anti-authoritarian ideologies.
In 1977 the influence of the music and subculture became more pervasive. It took root in a wide range of local scenes that rejected affiliation with the mainstream. In the late 1970s, punk experienced a second wave as new acts that were not active during its formative years adopted the style. By the early 1980s, faster and more aggressive subgenres such as hardcore punk, street punk and anarcho-punk became the predominant modes of punk rock. Musicians identifying with or inspired by punk pursued other musical directions, giving rise to spinoffs such as post-punk, new wave, indie pop, alternative rock, noise rock. By the 1990s, punk re-emerged in the mainstream with the success of punk rock and pop punk bands such as Green Day, The Offspring, Blink-182; the first wave of punk rock was "aggressively modern" and differed from what came before. According to Ramones drummer Tommy Ramone, "In its initial form, a lot of stuff was innovative and exciting. What happens is that people who could not hold a candle to the likes of Hendrix started noodling away.
Soon you had endless solos. By 1973, I knew that what was needed was some pure, stripped down, no bullshit rock'n' roll." John Holmstrom, founding editor of Punk magazine, recalls feeling "punk rock had to come along because the rock scene had become so tame that like Billy Joel and Simon and Garfunkel were being called rock and roll, when to me and other fans and roll meant this wild and rebellious music." In critic Robert Christgau's description, "It was a subculture that scornfully rejected the political idealism and Californian flower-power silliness of hippie myth." Technical accessibility and a Do. UK pub rock from 1972-1975 contributed to the emergence of punk rock by developing a network of small venues, such as pubs, where non-mainstream bands could play. Pub rock introduced the idea of independent record labels, such as Stiff Records, which put out basic, low-cost records. Pub rock bands put out small pressings of their records. In the early days of punk rock, this DIY ethic stood in marked contrast to what those in the scene regarded as the ostentatious musical effects and technological demands of many mainstream rock bands.
Musical virtuosity was looked on with suspicion. According to Holmstrom, punk rock was "rock and roll by people who didn't have many skills as musicians but still felt the need to express themselves through music". In December 1976, the English fanzine Sideburns published a now-famous illustration of three chords, captioned "This is a chord, this is another, this is a third. Now form a band"; the title of a 1980 single by the New York punk band Stimulators, "Loud Fast Rules!", inscribed a catchphrase for punk's basic musical approach. Some of British punk rock's leading figures made a show of rejecting not only contemporary mainstream rock and the broader culture it was associated with, but their own most celebrated music predecessors: "No Elvis, Beatles or the Rolling Stones in 1977", declared the Clash song "1977"; the previous year, when the punk rock revolution began in Great Britain, was to be both a musical and a cultural "Year Zero". As nostalgia was discarded, many in the scene adopted a nihilistic attitude summed up by the Sex Pistols slogan "No Future".
While "self-imposed alienation" was common among "drunk punks" and "gutter punks", there was always a tension between their nihilistic outlook and the "radical leftist utopianism" of bands such as Crass, who found positive, liberating meaning in the movement. As a Clash associate describes singer Joe Strummer's outlook, "Punk rock is meant to be our freedom. We're meant to be able to do what we want to do."The issue of authenticity is important in the punk subculture—the pejorative term "poseur" is applied to those who associate with punk and adopt its stylistic attributes but are deemed not to share or understand the underlying values and philosophy. Scholar Daniel S. Traber argues that "attaining authenticity in the punk identity can be difficult".
Capitol Records, Inc. is an American record label owned by Universal Music Group through its Capitol Music Group imprint. It was founded as the first West Coast-based record label in the United States in 1942 by Johnny Mercer, Buddy DeSylva, Glenn E. Wallichs. Capitol was acquired by British music conglomerate EMI as its North American subsidiary in 1955. EMI was acquired by Universal Music Group in 2012 and was merged with the company a year making Capitol and the Capitol Music Group both a part of UMG; the label's circular headquarter building in Hollywood is a recognized landmark of California. Capitol's roster includes Katy Perry, Sir Paul McCartney, Mary J. Blige, the Beach Boys, the Beastie Boys, Neil Diamond, Brian Wilson, Avenged Sevenfold, 5 Seconds of Summer, Don Henley, Sam Smith, Migos, NF, Emeli Sandé, Troye Sivan, Calum Scott, Tori Kelly, Jon Bellion, Niall Horan. Songwriter Johnny Mercer founded Capitol Records in 1942 with financial help from songwriter and film producer Buddy DeSylva and the business acumen of Glenn Wallichs, owner of Wallichs Music City.
Mercer raised the idea of starting a record company while golfing with Harold Arlen and Bobby Sherwood and with Wallichs at Wallichs's record store. On February 2, 1942, Mercer and Wallichs met DeSylva at a restaurant in Hollywood to talk about investment by Paramount Pictures. On March 27, 1942, the three men incorporated as Liberty Records. In May 1942, the application was amended to change the company's name to Capitol Records. On April 6, 1942, Mercer supervised Capitol's first recording session where Martha Tilton recorded the song "Moon Dreams". On May 5, Bobby Sherwood and his orchestra recorded two tracks in the studio. On May 21, Freddie Slack and his orchestra recorded three tracks in the studio. On June 4, 1942, Capitol opened its first office in a second-floor room south of Sunset Boulevard. On that same day, Wallichs presented the company's first free record to Los Angeles disc jockey Peter Potter. On June 5, 1942, Paul Whiteman and his Orchestra recorded four songs at the studio. On June 12, the orchestra recorded five more songs in the studio, including "Trav'lin' Light" with Billie Holiday, On June 11, Tex Ritter recorded " Jingle Jangle Jingle" and "Goodbye My Little Cherokee" for his first Capitol recording session, the songs formed Capitol's 110th produced record.
The earliest recording artists included co-owner Mercer, Johnnie Johnston, Morse, Jo Stafford, the Pied Pipers, Tex Ritter, Paul Weston and Margaret Whiting Capitol's first gold single was Morse's "Cow Cow Boogie" in 1942. Capitol's first album was Capitol Presents Songs by Johnny Mercer, a three disc set with recordings by Mercer and the Pied Pipers, all with Weston's Orchestra; the label's other 1940s musicians included Les Baxter, Les Brown, Jimmy Bryant, Billy Butterfield, Nat King Cole, Sammy Davis Jr. Dinning Sisters, Tennessee Ernie Ford, Mary Ford, Benny Goodman, Skitch Henderson, Betty Hutton, Stan Kenton, Peggy Lee, Billy May, Les Paul, Alvino Rey, Andy Russell, Smilin' Jack Smith, Kay Starr, Speedy West, Cootie Williams. Musicians on the Capitol Americana label included Lead Belly, Cliffie Stone, Hank Thompson, Merle Travis, Wesley Tuttle, Jimmy Wakely, Tex Williams. Capitol was the first major west coast label to compete with labels on the east coast such as Columbia, RCA Victor.
In addition to its Los Angeles recording studio, Capitol owned a second studio in New York City and sent mobile recording equipment to New Orleans and other cities. In 1946, writer-producer Alan W. Livingston created Bozo the Clown for the company's children's record library. Examples of notable Capitol albums for children during that era are Sparky's Magic Piano and Rusty in Orchestraville. Capitol developed a noted jazz catalog that included the Capitol Jazz Men and issued the Miles Davis's album Birth of the Cool Capitol released a few classical albums in the 1940s, some of which contained a embossed, leather-like cover; these recordings appeared on 78 rpm format released on the 33 format in 1949. Among the recordings: Brazilian composer Heitor Villa-Lobos' Choros No. 10, with contributions from a Los Angeles choral group and the Janssen Symphony Orchestra, conducted by Werner Janssen. In 1949, Capitol opened a branch office in Canada and purchased KHJ Studios on Melrose Avenue adjacent to Paramount in Hollywood.
By the mid-1950s, Capitol had become a huge company. The label's roster included the Andrews Sisters, Ray Anthony, Shirley Bassey, June Christy, Tommy Duncan, Tennessee Ernie Ford, the Four Freshmen, the Four Knights, the Four Preps, Jane Froman, Judy Garland, Jackie Gleason, Andy Griffith, Dick Haymes, Harry James, the Kingston Trio, the Louvin Brothers, Dean Martin, Al Martino, Skeets McDonald, Louis Prima, Nelson Riddle, Dinah Shore, Frank Sinatra, Keely Smith. Capitol began recording roll acts such as the Jodimars and Gene Vincent. There were comedy records by Stan Freberg, Johnny Standley, Mickey Katz. Children listened to Capitol's Bozo the Clown albums. Although various people played Bozo the Clown on television, Capitol used the voice of Pinto Colvig, the voice of Goofy in Walt Disney cartoons. Don Wilson released children's records. In June 1952, Billboard magazine contained a chronicle of the label's first ten years in business. In 1955, the British record company EMI ended its 55-year mutual distribution
Octopus (Gentle Giant album)
Octopus is the fourth album by British progressive rock band Gentle Giant, released in 1972. It is the band's first album with new drummer John Weathers, who would remain with the band until their dissolution in 1980. Octopus remains a regarded example of the progressive rock genre and is considered to represent the start of the band's peak period. Octopus was named by Phil Shulman's wife Roberta as a pun on "octo opus". In 2004, Ray Shulman commented " was our best album, with the exception of Acquiring the Taste. We started with the idea of writing a song about each member of the band. Having a concept in mind was a good starting point for writing. I don't know why, but despite the impact of The Who's Tommy and Quadrophenia overnight concept albums were perceived as rather naff and pretentious"; the album maintained Gentle Giant's trademark of challengingly integrated styles. One of the highlights was the intricate madrigal-styled vocal workout "Knots", lyrically inspired by the work of R. D. Laing.
The album's songs are based on novels and philosophers: "The Advent of Panurge" is inspired by the books of Gargantua and Pantagruel by François Rabelais. On 30 October 2015, a Steven Wilson remix was released on CD/Blu-ray via the band's Alucard label. Three tracks could not be discretely remixed. Instead, those three tracks were upmixed to 5.1 surround using the Penteo surround software. The remaining five tracks were remixed to 5.1 by Steven Wilson. The UK release of the album featured art by Roger Dean. Dean's logo appears inside the lyrics booklet. North American releases featured a different cover by Charles White. Early versions of this cover were die-cut into a jar shape. Reviews have stated positively about the album. Allmusic have declared that Octopus is "an album that has withstood the test of time a lot better than anyone might have expected."In the Q & Mojo Classic Special Edition Pink Floyd & The Story of Prog Rock, the album came #16 in its list of "40 Cosmic Rock Albums". In The 100 Greatest Prog Albums Of All Time, by ProgMagazine, Octopus stands at number 65.
The 2015 reissue of the album, mixed by Steven Wilson, entered the BBC Rock Chart at No. 34. All tracks written by Ray Shulman. Gentle GiantGary Green - electric guitar, percussion Kerry Minnear - piano, Hammond organ, electric piano, Clavinet, regal, cello, lead vocals, backing vocals Derek Shulman - lead vocals, alto saxophone Phil Shulman - trumpet, tenor saxophone, lead vocals on tracks 1, 4, 6 and 8, backing vocals Ray Shulman - bass guitar, viola, electric violin, acoustic guitar, backing vocals John Weathers - drums, varispeed cymbal, xylophone Production Gentle Giant - Production Martin Rushent - Engineering Cliff Morris - Mastering Geoff Young - Tape operator Murray Krugman - Over-all American SupervisionDesign John Berg - Cover concept & design Fluid Drive - Art Charles White III - Illustration Kenny Kneitel - Design Michael Doret - Lettering
John Patrick'Pugwash' Weathers is a drummer, best known for playing with the progressive rock band Gentle Giant. Born in Carmarthen, Wales, he moved to Swansea until, aged 15, he went to live with his aunt in Liverpool, just as the Merseybeat scene exploded. Weathers had had a drum-kit as a child, so took up playing in several local bands. Returning to Wales in 1964, his experience on the Mersey scene got him into several local bands, including The Vikings and The Brothers Grimm. In 1966 Weathers joined a Neath band The Eyes of Blue, along with Phil Ryan and Gary Pickford-Hopkins from The Smokestacks; the band turned professional, won the 1966 Melody Maker Beat Contest. The prize was a one-year record contract, but they had to record songs chosen for them, rather than their own material and neither of their singles, "Heart Trouble" / "Up And Down" and "Supermarket Full Of Cans" / "Don't Ask Me To Mend Your Broken Heart", sold well; the Eyes of Blue changed label from Decca to Mercury Records and recorded their first album Crossroads of Time in 1968.
They recorded an album Buzzy, as the backing band for American singer-songwriter Buzzy Linhart, before recording their second album In Fields of Ardath in 1969. The band Strawberry Dust supported The Eyes, impressed Weathers, who persuaded Lou Reizner to commission an album, which Weathers produced and wrote/co-wrote 6 songs. Women & Children First was released in 1970, but Reizner renamed the band Ancient Grease, without telling them, credited himself as co-producer; the Eyes of Blue’s third album, Bluebell Wood, released under the pseudonym Big Sleep, was their last, as the band broke up shortly afterwards. Weathers played with Strawberry Dust, until they broke up reforming as Racing Cars. After this break up he played drums on the final appearance of the Swansea Soul band the John Smith Committee. In 1970 Weathers and Phil Ryan joined Pete Brown & Piblokto! Playing on one single, "Flying Hero Sandwich" / "My Last Band", before Piblokto disbanded. Weathers joined an embryonic Wild Turkey with Glenn Cornick, Gary Pickford-Hopkins and Graham Williams, but Weathers and Williams left to join Graham Bond’s Magick before Wild Turkey recorded any material.
He appeared on Graham Bond's 1971 album, We Put Our Magick On You, that year joined The Grease Band. Weathers joined Gentle Giant in 1972, as a temporary stand in for their drummer Malcolm Mortimore, injured in a motorcycle accident, he first played on Gentle Giant's Octopus album, his position soon became permanent, remaining with them until they broke up, after their last album Civilian. He was well liked by fans for his distinctive hard-bashing drum style, played vibes and xylophone, among other percussion instruments, he added his vocals in both studio and live performances more and more as time went on singing lead on the songs "Interview" and "Friends", the latter of which he composed. Whilst with Gentle Giant, Weathers played with Phil Ryan's band The Neutrons, including their 1974 album, Black Hole Star. After Gentle Giant disbanded in 1980, Weathers played a number of temporary positions, until he joined the psychedelic/progressive rock band Man when they reformed in 1983. Apart from a short spell, when he was unwell and Rick Martinez temporarily took over, he stayed with Man until 1996, recording 2 studio albums and 3 live albums, becoming their longest serving drummer leaving because Gentle Giant were about to reform.
He left Man shortly before Phil Ryan re-joined the band. Weathers was infamously featured in the 1986 S4C TV programme Rocking With A Sikh, backing the Sikh Elvis impersonator Peter Singh, along with Martin Ace and Micky Jones, it was variously reported that he was suffering from RSI or arthritis, but according to him was “diagnosed with a condition called Spinocerebellar ataxia, akin to M. S.” The unpublished memoirs of his time spent in Morriston Hospital - Two Weeks in Pain - Under the Knife, hilariously document the trials of an NHS in-patient in post-op recovery. Weathers has appeared on several Welsh TV soundtracks, in 2006 rejoined the latest re-incarnation of Wild Turkey, to record their album You & Me In The Jungle and tour Europe. Weathers is a keen ornithologist. Octopus In a Glass House The Power and the Glory Free Hand Interview The Missing Piece Giant for a Day! Civilian Friday 13th The Twang Dynasty Call Down The Moon You and Me in the Jungle Gentle Giant home page
Raymond Shulman is a Scottish musician, the youngest of three brothers in progressive rock band, Gentle Giant. Shulman was born in Portsmouth, his father was a trumpet player in a jazz band, and, the first instrument he learned to play. He went on to learn violin and guitar, was primed for the National Youth Orchestra of Great Britain, but his brother Derek convinced him to join his band Simon Dupree and the Big Sound, which evolved into Gentle Giant. During Shulman's recording days in the band as a bass guitarist, his virtuosity compared to popular players such as Yes' Chris Squire. Yet, like Genesis' Mike Rutherford, Shulman was quite adept at other instruments as well. Similar to the role of the rhythmist in the art-rock band Family, Shulman sometimes doubled on violin, trumpet and electric guitars. Shulman and keyboardist-bandmate Kerry Minnear composed or co-wrote much of the music for Gentle Giant. Shulman was in Gentle Giant from the beginning in 1970 to the last tour in 1980, he would go on to become a record producer in the late 1980s and 1990s, working with the Sugarcubes, the Sundays and Ian McCulloch, among others.
He has created music for several video games, such as Privateer 2 and Azrael's Tear and released two trance-EP:s under pseudonym Head-Doctor
Acquiring the Taste
Acquiring the Taste is the second album of English progressive rock band Gentle Giant, released in 1971. It was the final album by the band to feature original drummer Martin Smith; the recording was made at the following studios Advision Studios – A. I. R. Studios, London – This was a departure from the blues and soul styles found on their self-titled debut, it was more experimental, more discordant, with more varied instrumentation. In the sleeve text, the band made this famous declaration: It is our goal to expand the frontiers of contemporary popular music at the risk of being unpopular. We have recorded each composition with the one thought – that it should be unique and fascinating, it has taken every shred of technical knowledge to achieve this. From the outset we have abandoned all preconceived thoughts of blatant commercialism. Instead we hope to give you something far more substantial and fulfilling. All you need to do is sit back, acquire the taste; the song "Pantagruel's Nativity" is inspired by the books of Gargantua and Pantagruel by François Rabelais.
At 39 minutes and 26 seconds, it is the longest studio album the group released. The album cover has some innuendo. However, when opened it is a tongue licking a peach. In 2005, it was featured in Pitchfork Media's list of "The Worst Record Covers of All Time." All tracks written by Kerry Minnear, Derek Shulman, Phil Shulman, Ray Shulman. Gary Green – 6-string electric guitar, electric guitars, 12 string electric guitar, 12 string electric wah-wah guitar, bass, donkey's jawbone, cat calls, voice on track 8 Kerry Minnear – Minimoog, Hammond organ, harpsichord, electric piano, clavichord, vibraphone, cello, tambourine, lead vocals, vocals Derek Shulman – alto saxophone, cowbell, lead vocals, vocals Phil Shulman – clarinet, alto & tenor saxophone, claves, lead vocals, vocals Ray Shulman – bass, violins, electric violin, Spanish guitar, 12 string guitars, skulls, organ bass pedals, vocals Martin Smith – drums, gong, side drum Paul Cosh – trumpet, organ Tony Visconti – descant recorders, treble recorder, tenor recorder, bass drum, triangle Chris Thomas – moog programmer 1971, UK, Vertigo 6360 041, release date July 16, 1971, LP 1971, UK, Vertigo 6360 041, release date??
1971, Cassette 1971, US, Vertigo VEL 1005, release date August 1971, LP 1971, US, Vertigo VEL 1005, release date?? 1971, Cassette 1997, UK, Vertigo 842 917-2, release date? February 1997, CD 1997, US, Polydor 8429172, release date? February 1997, CD 2005, UK, Repertoire REPUK1072, release date 28 November 2005, CD