Bed Sitter Images is the debut studio album of folk artist Al Stewart, released in 1967, again in a revised edition with a new cover picture in 1970. The songs were orchestrated by Alexander Faris; the cover of the first 1967 edition spells "Bed Sitter" without a hyphen, as do many reviews and Al Stewart's official website. The album and its title track are both named on the record label as Bedsitter Images, with neither hyphen nor space between'Bed' and'sitter'; the album is commercially available as part of a 2-CD box set To Whom It May Concern, which contains Stewart's first three albums as well as both sides of his first single and the tracks added to the 1970 re-release, which featured a new cover, was known as The First Album. A new CD reissue in 2007 contains; the album has been released in Japan as The News from Spain, with the addition of some recordings by Stewart. "Bedsitter Images" - 3:20 "Swiss Cottage Manoeuvres" - 3:59 "The Carmichaels" - 2:52 "Scandinavian Girl" - 2:35 "Pretty Golden Hair" - 3:39 "Denise at 16" - 3:18 "Samuel, Oh How You've Changed" - 4:00 "Cleave to Me" - 2:53 "A Long Way Down From Stephanie" - 3:27 "Ivich" - 4:24 "Beleeka Doodle Day" - 6:57Alexander Faris - Orchestral Arrangements "Lover Man" - 2:31 "Swiss Cottage Manoeuvres" - 3:59 "The Carmichaels" - 2:52 "Clifton in the Rain" - 2:41 "Bed-Sitter Images" - 3:20 "Denise at 16" - 3:18 "Samuel, Oh How You've Changed!"
- 4:00 "A Long Way Down From Stephanie" - 3:27 "Ivich" - 4:24 "Beleeka Doodle Day" - 6:57 "Bed-Sitter Images" - 3:18 "Swiss Cottage Manoeuvres" - 4:01 "The Carmichaels" - 2:53 "Scandinavian Girl" - 2:35 "Pretty Golden Hair" - 3:39 "Denise at 16" - 3:19 "Samuel, Oh How You've Changed!" - 4:02 "Cleave to Me" - 2:53 "A Long Way Down from Stephanie" - 3:29 "Ivich" - 4:26 "Beleeka Doodle Day" - 7:00 "Lover Man" - 2:33 "Clifton in the Rain" - 2:48 "Go Your Way" - 1:51 "My Contemporaries" - 0:30 Al Stewart - guitar, vocals Alexander Faris - conductor, orchestral arrangements Mike Claydon - engineer AlStewart.com: Bedsitter Images AlStewart.com: The First Album
Love Chronicles is the second studio album of Scottish folk artist Al Stewart, released in September 1969. It was his first album to be released in the US. Among the supporting musicians were Jimmy Page and four members of Fairport Convention: Bassist Ashley Hutchings, guitarist Simon Nicol, drummer Martin Lamble and guitarist Richard Thompson; the songwriting is stark. Love Chronicles was released in the UK as part of a double album To Whom It May Concern, an anthology of Stewart's first three albums. In 2007, Love Chronicles was issued for the first time on CD with some bonus tracks. All tracks composed by Al Stewart Side A: "In Brooklyn" "Old Compton Street Blues" "The Ballad of Mary Foster" "Life and Life Only"Side B: "You Should Have Listened to Al" "Love Chronicles" Side 1: "You Should Have Listened to Al" "Old Compton Street Blues" "The Ballad of Mary Foster" "Life and Life Only"Side 2: "In Brooklyn" "Love Chronicles" "In Brooklyn" - 3:43 "Old Compton Street Blues" - 4:26 "The Ballad of Mary Foster" - 8:02 "Life and Life Only" - 5:49 "You Should Have Listened to Al" - 3:02 "Love Chronicles" - 18:04Bonus tracks "Jackdaw" - 3:20 "She Follows Her Own Rules" - 3:18 "Fantasy" - 2:15 Al Stewart - vocals, guitar Jimmy Page - guitar on "Love Chronicles" Simon Breckenridge - guitar Mervyn Prestwyck - guitar Brian Brocklehurst - bass Harvey Burns - drums Martyn Francis - drums Brian Odgers - bass John Paul Jones - bass on "Love Chronicles" Ashley Hutchings - bass Love Chronicles at Discogs
Modern Times (Al Stewart album)
Modern Times is Al Stewart's sixth studio album, released in 1975. The album was re-released in 2007 with bonus tracks. All tracks composed by Al Stewart except. Side 1 "Carol" – 4:24 "Sirens of Titan" – 2:50 "What's Going On?" – 3:34 "Not the One" – 4:34 "Next Time" – 4:19Side 2 "Apple Cider Re-Constitution" – 5:19 "The Dark and the Rolling Sea" – 5:21 "Modern Times" – 8:21 "News from Spain" - 6:03 "Elvaston Place" - 2:53 "Swallow Wind" - 3:21 "Swallow Wind" - 3:23 "A Sense of Deja Vu" - 4:50 "Willie the King" - 4:01 Al Stewart - vocals, keyboard Brian Bennett - background vocals David Ellis - acoustic guitar Isaac Guillory - guitar Simon Nicol - guitar Tim Renwick - guitar Andrew Powell - arranger Tony Carr - percussion Gerry Conway - drums Stuart Cowell - dobro, guitar Barry DeSouza - drums George Ford - bass Neil Lancaster - background vocals Charles Mills - background vocals Peter Moss - fuzz bass Graham Smith - harmonica Pete Wingfield - keyboards Peter Wood - keyboards, accordion Alan Parsons - engineer, string arrangements Album – Billboard "Sirens of Titan" is based on the novel of the same name by Kurt Vonnegut.
The blonde woman on the album cover is Ginger. The Cord automobile Stewart is sitting in belonged to Led Zeppelin guitarist Jimmy Page. Centered in the cover, holding a mirror reflecting a bright light toward the viewer, as on Stewart's previous album, Past and Future, the U. S. version of the album features the Marvel Comics character Doctor Strange
Billboard is an American entertainment media brand owned by the Billboard-Hollywood Reporter Media Group, a division of Eldridge Industries. It publishes pieces involving news, opinion, reviews and style, is known for its music charts, including the Hot 100 and Billboard 200, tracking the most popular songs and albums in different genres, it hosts events, owns a publishing firm, operates several TV shows. Billboard was founded in 1894 by William Donaldson and James Hennegan as a trade publication for bill posters. Donaldson acquired Hennegen's interest in 1900 for $500. In the early years of the 20th century, it covered the entertainment industry, such as circuses and burlesque shows, created a mail service for travelling entertainers. Billboard began focusing more on the music industry as the jukebox and radio became commonplace. Many topics it covered were spun-off into different magazines, including Amusement Business in 1961 to cover outdoor entertainment, so that it could focus on music.
After Donaldson died in 1925, Billboard was passed down to his children and Hennegan's children, until it was sold to private investors in 1985, has since been owned by various parties. The first issue of Billboard was published in Cincinnati, Ohio by William Donaldson and James Hennegan on November 1, 1894, it covered the advertising and bill posting industry, was known as Billboard Advertising. At the time, billboards and paper advertisements placed in public spaces were the primary means of advertising. Donaldson handled editorial and advertising, while Hennegan, who owned Hennegan Printing Co. managed magazine production. The first issues were just eight pages long; the paper had columns like "The Bill Room Gossip" and "The Indefatigable and Tireless Industry of the Bill Poster". A department for agricultural fairs was established in 1896; the title was changed to The Billboard in 1897. After a brief departure over editorial differences, Donaldson purchased Hennegan's interest in the business in 1900 for $500 to save it from bankruptcy.
That May, Donaldson changed it from a monthly to a weekly paper with a greater emphasis on breaking news. He improved editorial quality and opened new offices in New York, San Francisco and Paris, re-focused the magazine on outdoor entertainment such as fairs, circuses and burlesque shows. A section devoted to circuses was introduced in 1900, followed by more prominent coverage of outdoor events in 1901. Billboard covered topics including regulation, a lack of professionalism and new shows, it had a "stage gossip" column covering the private lives of entertainers, a "tent show" section covering traveling shows, a sub-section called "Freaks to order". According to The Seattle Times, Donaldson published news articles "attacking censorship, praising productions exhibiting'good taste' and fighting yellow journalism"; as railroads became more developed, Billboard set up a mail forwarding system for traveling entertainers. The location of an entertainer was tracked in the paper's Routes Ahead column Billboard would receive mail on the star's behalf and publish a notice in its "Letter-Box" column that it has mail for them.
This service was first introduced in 1904, became one of Billboard's largest sources of profit and celebrity connections. By 1914, there were 42,000 people using the service, it was used as the official address of traveling entertainers for draft letters during World War I. In the 1960s, when it was discontinued, Billboard was still processing 1,500 letters per week. In 1920, Donaldson made a controversial move by hiring African-American journalist James Albert Jackson to write a weekly column devoted to African-American performers. According to The Business of Culture: Strategic Perspectives on Entertainment and Media, the column identified discrimination against black performers and helped validate their careers. Jackson was the first black critic at a national magazine with a predominantly white audience. According to his grandson, Donaldson established a policy against identifying performers by their race. Donaldson died in 1925. Billboard's editorial changed focus as technology in recording and playback developed, covering "marvels of modern technology" such as the phonograph, record players, wireless radios.
It began covering coin-operated entertainment machines in 1899, created a dedicated section for them called "Amusement Machines" in March 1932. Billboard began covering the motion picture industry in 1907, but ended up focusing on music due to competition from Variety, it created a radio broadcasting station in the 1920s. The jukebox industry continued to grow through the Great Depression, was advertised in Billboard, which led to more editorial focus on music; the proliferation of the phonograph and radio contributed to its growing music emphasis. Billboard published the first music hit parade on January 4, 1936, introduced a "Record Buying Guide" in January 1939. In 1940, it introduced "Chart Line", which tracked the best-selling records, was followed by a chart for jukebox records in 1944 called Music Box Machine charts. By the 1940s, Billboard was more of a music industry specialist publication; the number of charts it published grew after World War II, due to a growing variety of music interests and genres.
It had eight charts by 1987, covering different genres and formats, 28 charts by 1994. By 1943, Billboard had about 100 employees; the magazine's offices moved to Brighton, Ohio in 1946 to New York City in 1948. A five-column tabloid format was adopted in November 1950 and coated paper was first used in Billboard's print issues in January 1963, allowing for photojournalis
Progressive pop is pop music that attempts to break with the genre's standard formula, or an offshoot of the progressive rock genre, heard on AM radio in the 1970s and 1980s. It was termed for the early progressive rock of the 1960s; some stylistic features of progressive pop include changes in key and rhythm, experiments with larger forms, unexpected, disruptive, or ironic treatments of past conventions. Performers produce their own material while opposing the influence of managers, agents, or record companies. Since 1967, "progressive" pop has stood in contrast to "mass/chart" pop. Following the economic boom of the mid 1960s, record labels began investing in artists and allowing performers limited control over their own content and marketing. Groups who combined rock and roll with various other music styles such as Indian ragas and oriental melodies influenced the creation of progressive rock. After the 1970s, prog began selling poorly, opening a vacuum for a new, milder brand of progressive pop.
During the 1980s, the New Pop movement attempted to bridge the divide between "progressive" pop and its mass/chart counterpart. By the 2000s, progressive pop gave rise to a host of popular, uncommonly large bands with an aversion to formal hierarchies; the term "progressive" refers to the wide range of attempts to break with standard pop music formulas through methods such as extended instrumentation, personalized lyrics, individual improvisation. Its initial premise involved popular music, created with the intention of listening, not dancing, opposed the influence of managers, agents, or record companies. In general, progressive music was produced by the performing artists themselves. Similar to rock and roll, the tonal structure of progressive pop overthrows harmony as its basic organizing structure. However, unlike rock and roll, progressive pop inverts received conventions, playing with them disrupting them, or producing shadows of them in new and unexpected forms; some stylistic features include experiments with larger forms.
Electronic techniques such as echo, stereo and distortion may be used to give the music the impression of space and lateral extension."Progressive pop" was termed for progressive rock music. The latter genre was influenced by the "progressive" pop groups from the 1960s who combined rock and roll with various other music styles such as Indian ragas, oriental melodies, Gregorian chants, like the Beatles and the Yardbirds. In December 1966, Melody Maker attempted to define the recent developments in pop. In this article, titled "Progressive Pop", Chris Welch categorised artists using terms associated with jazz. After the release of the Beatles' 1967 album Sgt. Pepper's Lonely Hearts Club Band, magazines such as Melody Maker drew a sharp line between "pop" and "rock', thus eliminating the "roll" from "rock and roll"; the only artists who remained "rock" would be those who were considered at the vanguard of compositional forms, far from "radio friendly" standards, as Americans used the adjective "progressive" for groups like Jethro Tull, East of Eden, Van Der Graaf Generator, King Crimson.
In 1970, a Melody Maker journalist described progressive pop as music appealing to the masses, but less disposable than the "six weeks in the charts and the'forget it' music of older pop forms." By the late 1970s, "progressive pop" was synonymous with "rock music". Authors Don and Jeff Breithaupt define progressive pop in the 1970s and 1980s as a "leaner breed of pomp rock", derivative of the Beatles. Producer Alan Parsons, who worked as an engineer on the Beatles' album Abbey Road, remembered that though he considered some of his songs "pure pop", others continued to categorize his band under the "progressive rock" label. Parsons thought "progressive pop" was a better name, explaining that "what made progressive was the epic sound and the orchestration which few people were doing that at the time." During the mid 1960s, pop music made repeated forays into new sounds and techniques that inspired public discourse among its listeners. The word "progressive" was used, it was thought that every song and single was to be a "progression" from the last.
The Beatles' Paul McCartney intimated in 1967: "we got a bit bored with 12 bars all the time, so we tried to get into something else. Came Dylan, the Who, the Beach Boys.... We're all trying to do vaguely the same kind of thing." Before the progressive pop of the late 1960s, performers were unable to decide on the artistic content of their music. The Beach Boys' leader Brian Wilson is credited for setting a precedent that allowed bands and artists to enter a recording studio and act as their own producers. Author Bill Martin recognises the Beatles and the Beach Boys as the most significant contributors to the development of progressive rock, transforming rock from dance music into music, made for listening to. Citing a quantitative study of tempos in music from the era, musicologist Walter Everett identifies the Beatles' 1965 album Rubber Soul as a work, "made more to be thought about than danced to", an album that "began a far-reaching trend" in its slowing-down of the tempos used in pop and rock music.
In 1966, the UK release of the Beach Boys' Pet Sounds was accompanied by advertisements in the local music press saying that it was "Th
Timothy John Pearson Renwick is an English guitarist. He is best known for his association with Al Stewart in his early career and for his long-standing role as lead guitarist for The Sutherland Brothers and Quiver, he performed with Pink Floyd on their 1987 and 1994 tours, as well as accompanying the band at their Live 8 performance. Renwick grew up in Cambridge, he passed his 11 plus and attended Cambridgeshire High School for Boys, as had future Floyd members Syd Barrett and Roger Waters. After dabbling in other instruments, he started to play guitar when he was 14, progressed to playing in local bands in 1963. Throughout that decade performed with Little Women, Wages of Sin, Junior's Eyes, The Hype and Lazy Racer, he worked for the Alan Parsons' rhythm section at Abbey Road Studios with Pete Moss for the Sutherland Brothers and Al Stewart. He did session work for Elton John, Procol Harum, Andy Gibb, Bridget St. John, Shirley Collins and The Albion Country Band, David Bowie, Mike Oldfield, Gary Brooker, Roger Waters, Eric Clapton, David Byron, Rick Wright, Jonathan Kelly, Sally Oldfield, Maggie Reilly, China Crisis, Pink Floyd and Brian Joseph Friel.
Renwick is credited as the co-composer of Elton John's song "Dreamboat". The song was released on the "Kiss the Bride" single in 1983, but was most recorded in the late 1970s, when Renwick was a member of Elton John's band, recording with him on A Single Man and playing with him in John's 1980 concert in Central Park, New York. In 1984, Renwick toured with Roger Waters during his The Cons of Hitchhiking tour. Among the other musicians in Waters' band was Eric Clapton, with whom Tim toured the following year, on Clapton's Behind The Sun Tour. In 1987, David Gilmour invited Renwick to tour with Pink Floyd as a session musician, recordings from the August 1988 shows were released in the double live album Delicate Sound of Thunder; this makes Renwick, along with Michael Kamen, Patrick Leonard and Jon Carin, one of the few musicians who performed with both Waters and his former bandmates after Waters had left Pink Floyd. Renwick joined the Tex Maniax with other ex Wangfords and Mike + The Mechanics.
Renwick joined Pink Floyd again on their 1989 European tour, on the 1994 studio album, The Division Bell, on the Division Bell tour, which again resulted in a double live album, Pulse. Renwick made a live appearance with the Alan Parsons Band in the 1998 Michael Jackson Gala, he recorded with Pink Floyd colleague Rick Wright. In 2005 he appeared once more with Pink Floyd as second guitarist for their Live 8 reunion, he played with Al Stewart at Cambridge Corn Exchange on 7 October 2013, again on Stewart's 2015 UK and Ireland tour. Renwick has recorded an eponymous album, Tim Renwick, released in 1980, in 2007 compiled an instrumental album titled Privateer, published by Audio Network Plc. and available from his website. Privateer II was released in 2017 following a similar theme, he now lives in Pentewan and plays guitar in The Bucket Boys. He played in a duo called Hobson's Choice,and is an occasional guest player with Cornish band The Hoodle. Tim Renwick Privateer Electric Blue Vintage Blues Guitar Privateer 2 Official website Tim Renwick Myspace Tim Renwick bio with details of all band line-ups etc
London is the capital and largest city of both England and the United Kingdom. Standing on the River Thames in the south-east of England, at the head of its 50-mile estuary leading to the North Sea, London has been a major settlement for two millennia. Londinium was founded by the Romans; the City of London, London's ancient core − an area of just 1.12 square miles and colloquially known as the Square Mile − retains boundaries that follow its medieval limits. The City of Westminster is an Inner London borough holding city status. Greater London is governed by the Mayor of the London Assembly. London is considered to be one of the world's most important global cities and has been termed the world's most powerful, most desirable, most influential, most visited, most expensive, sustainable, most investment friendly, most popular for work, the most vegetarian friendly city in the world. London exerts a considerable impact upon the arts, education, fashion, healthcare, professional services and development, tourism and transportation.
London ranks 26 out of 300 major cities for economic performance. It is one of the largest financial centres and has either the fifth or sixth largest metropolitan area GDP, it is the most-visited city as measured by international arrivals and has the busiest city airport system as measured by passenger traffic. It is the leading investment destination, hosting more international retailers and ultra high-net-worth individuals than any other city. London's universities form the largest concentration of higher education institutes in Europe. In 2012, London became the first city to have hosted three modern Summer Olympic Games. London has a diverse range of people and cultures, more than 300 languages are spoken in the region, its estimated mid-2016 municipal population was 8,787,892, the most populous of any city in the European Union and accounting for 13.4% of the UK population. London's urban area is the second most populous in the EU, after Paris, with 9,787,426 inhabitants at the 2011 census.
The population within the London commuter belt is the most populous in the EU with 14,040,163 inhabitants in 2016. London was the world's most populous city from c. 1831 to 1925. London contains four World Heritage Sites: the Tower of London. Other landmarks include Buckingham Palace, the London Eye, Piccadilly Circus, St Paul's Cathedral, Tower Bridge, Trafalgar Square and The Shard. London has numerous museums, galleries and sporting events; these include the British Museum, National Gallery, Natural History Museum, Tate Modern, British Library and West End theatres. The London Underground is the oldest underground railway network in the world. "London" is an ancient name, attested in the first century AD in the Latinised form Londinium. Over the years, the name has attracted many mythicising explanations; the earliest attested appears in Geoffrey of Monmouth's Historia Regum Britanniae, written around 1136. This had it that the name originated from a supposed King Lud, who had taken over the city and named it Kaerlud.
Modern scientific analyses of the name must account for the origins of the different forms found in early sources Latin, Old English, Welsh, with reference to the known developments over time of sounds in those different languages. It is agreed; this was adapted into Latin as Londinium and borrowed into Old English, the ancestor-language of English. The toponymy of the Common Brythonic form is much debated. A prominent explanation was Richard Coates's 1998 argument that the name derived from pre-Celtic Old European *lowonida, meaning "river too wide to ford". Coates suggested that this was a name given to the part of the River Thames which flows through London. However, most work has accepted a Celtic origin for the name, recent studies have favoured an explanation along the lines of a Celtic derivative of a proto-Indo-European root *lendh-, combined with the Celtic suffix *-injo- or *-onjo-. Peter Schrijver has suggested, on these grounds, that the name meant'place that floods'; until 1889, the name "London" applied to the City of London, but since it has referred to the County of London and Greater London.
"London" is sometimes written informally as "LDN". In 1993, the remains of a Bronze Age bridge were found on the south foreshore, upstream of Vauxhall Bridge; this bridge either reached a now lost island in it. Two of those timbers were radiocarbon dated to between 1750 BC and 1285 BC. In 2010 the foundations of a large timber structure, dated to between 4800 BC and 4500 BC, were found on the Thames's south foreshore, downstream of Vauxhall Bridge; the function of the mesolithic structure is not known. Both structures are on the south bank. Although there is evidence of scattered Brythonic settlements in the area, the first major settlement was founded by the Romans about four years after the invasion